1
00:00:00,160 --> 00:00:14,040
Speaker 1: Hi, Millie ou la cumusa on Oh mob cot Beryl.

2
00:00:14,560 --> 00:00:17,239
Speaker 1: That's no mine, no, no, nothing right now.

3
00:00:17,400 --> 00:00:21,960
Speaker 2: Oh my god, dude, you just blew my mind. I've

4
00:00:22,040 --> 00:00:25,000
Speaker 2: I literally did not know you spoke that amount of Spanish.

5
00:00:25,120 --> 00:00:27,880
Speaker 1: I don't really speak Spanish that well, but I worked

6
00:00:27,880 --> 00:00:30,400
Speaker 1: in a kitchen for a long time and I took

7
00:00:30,600 --> 00:00:33,600
Speaker 1: Spanish in high school. And yeah, I need, I'm I

8
00:00:33,640 --> 00:00:35,360
Speaker 1: need to get better. I would love to be like

9
00:00:35,440 --> 00:00:39,199
Speaker 1: completely flown in Spanish. But anyways, that's not We're not

10
00:00:39,240 --> 00:00:41,440
Speaker 1: here for that today. I'm not here to talk about

11
00:00:41,880 --> 00:00:45,320
Speaker 1: my language abilities. Yes, well, we have a very exciting

12
00:00:45,360 --> 00:00:47,519
Speaker 1: show today. As usual, we're going to open up our

13
00:00:47,800 --> 00:00:51,280
Speaker 1: film diary, bear our souls and talk about the movies

14
00:00:51,360 --> 00:00:54,680
Speaker 1: we watched most recently in the past week or so.

15
00:00:55,200 --> 00:00:57,840
Speaker 2: And uh, you know, for our movie this week, we're

16
00:00:57,840 --> 00:01:03,279
Speaker 2: going to talk about the OJI, the Original Terminator from

17
00:01:03,360 --> 00:01:06,360
Speaker 2: nineteen eighty four. You know it, you love it. And

18
00:01:06,480 --> 00:01:08,920
Speaker 2: we're also going to talk about one of my favorite

19
00:01:08,959 --> 00:01:13,360
Speaker 2: time and places in history, and that is Los Angeles

20
00:01:13,520 --> 00:01:17,560
Speaker 2: in the nineteen eighties and more specifically La in the

21
00:01:17,600 --> 00:01:21,000
Speaker 2: eighties on film that is one of my favorite little

22
00:01:21,040 --> 00:01:23,800
Speaker 2: pockets of movieiness.

23
00:01:24,160 --> 00:01:27,560
Speaker 1: Hell yeah, Yeah, and most importantly, I have a film

24
00:01:27,600 --> 00:01:32,080
Speaker 1: Gripe that is going to rock this podcast. Just you wait.

25
00:01:32,800 --> 00:01:35,480
Speaker 1: But we wanted to also say before we get started

26
00:01:35,480 --> 00:01:38,720
Speaker 1: in today's episode. So the bulk of the main discussion

27
00:01:39,000 --> 00:01:43,440
Speaker 1: about LA in the nineteen eighties and in regards to

28
00:01:43,560 --> 00:01:48,680
Speaker 1: Terminator this all we recorded that before the fires in

29
00:01:48,760 --> 00:01:52,640
Speaker 1: Los Angeles. So if it seems sort of strange that

30
00:01:52,680 --> 00:01:56,040
Speaker 1: we're not going into detail about that in the bulk

31
00:01:56,080 --> 00:02:00,200
Speaker 1: of this episode, that's why, because obviously that's very much

32
00:02:00,240 --> 00:02:02,560
Speaker 1: on our minds when it comes to Los Angeles, and

33
00:02:02,600 --> 00:02:04,120
Speaker 1: as we get into it, it's a place we both

34
00:02:04,200 --> 00:02:08,200
Speaker 1: lived and really love, and so we just wanted to

35
00:02:08,240 --> 00:02:10,080
Speaker 1: let you know that that is not going to be

36
00:02:10,120 --> 00:02:13,640
Speaker 1: covered in this episode because we recorded that prior to it.

37
00:02:13,880 --> 00:02:16,800
Speaker 2: Yeah, and I you know, there was a we talked

38
00:02:16,800 --> 00:02:19,960
Speaker 2: about even whether or not we should even release it,

39
00:02:20,320 --> 00:02:22,960
Speaker 2: you know, because it, you know, we're talking about LA

40
00:02:23,600 --> 00:02:26,640
Speaker 2: so specifically, and we're also talking about Los Angeles and

41
00:02:26,680 --> 00:02:32,800
Speaker 2: sort of this like nineteen eighties doomsday apocalyptic perspective. So

42
00:02:33,000 --> 00:02:35,240
Speaker 2: we just wanted to let y'all know we're not omitting

43
00:02:35,720 --> 00:02:38,760
Speaker 2: the discussion about the wildfires. We just had recorded this

44
00:02:38,840 --> 00:02:40,040
Speaker 2: before that's right.

45
00:02:40,120 --> 00:02:43,760
Speaker 1: And yeah, just to reiterate, we love Los Angeles. We

46
00:02:43,800 --> 00:02:46,280
Speaker 1: are you know as you we talk about how much

47
00:02:46,280 --> 00:02:48,360
Speaker 1: we love this city so much, and it's been like

48
00:02:48,600 --> 00:02:52,600
Speaker 1: pretty heartbreaking to watch what has happened to a city

49
00:02:52,639 --> 00:02:56,360
Speaker 1: I lived in for seventeen years and still consider like

50
00:02:56,560 --> 00:03:00,160
Speaker 1: my home, and so many friends and loved ones are

51
00:03:00,200 --> 00:03:03,920
Speaker 1: affected by this fire. It's very painful. So, like Milly said,

52
00:03:03,960 --> 00:03:06,440
Speaker 1: we were like, we were wondering should we even release

53
00:03:06,480 --> 00:03:09,480
Speaker 1: this episode. But it's a really great conversation. It's really fun,

54
00:03:09,520 --> 00:03:12,520
Speaker 1: and it really is a celebration of Los Angeles. That's

55
00:03:12,520 --> 00:03:14,320
Speaker 1: why we did this whole episode. We want people to

56
00:03:14,320 --> 00:03:14,600
Speaker 1: hear that.

57
00:03:14,800 --> 00:03:18,920
Speaker 2: Yes, all of this and a lot more on this

58
00:03:19,040 --> 00:03:23,160
Speaker 2: episode of Dear Movies, I Love You.

59
00:03:23,360 --> 00:03:24,000
Speaker 1: Dear.

60
00:03:25,960 --> 00:03:29,480
Speaker 2: I love you, and I've got to.

61
00:03:31,960 --> 00:03:36,800
Speaker 1: Love me to check the books.

62
00:03:43,160 --> 00:03:47,200
Speaker 2: Hello, and welcome to Dear Movies, I Love You. This

63
00:03:47,240 --> 00:03:49,880
Speaker 2: is the podcast for people who are in a romantic

64
00:03:49,960 --> 00:03:52,720
Speaker 2: relationship with movies. My name is Millie to.

65
00:03:52,760 --> 00:03:56,400
Speaker 1: Cherico, and my name is Casey O'Brien.

66
00:03:56,680 --> 00:03:57,920
Speaker 2: How's it going this week?

67
00:03:58,200 --> 00:04:04,040
Speaker 1: Oh? Just Dan, I'm feeling fresh and attractive and I

68
00:04:04,120 --> 00:04:06,880
Speaker 1: just feel really good right now, especially because we're recording

69
00:04:06,920 --> 00:04:09,600
Speaker 1: an episode of Our Lovely Little Podcast Dear Movies.

70
00:04:09,640 --> 00:04:13,360
Speaker 2: I Love you, don't you love that beautiful theme song?

71
00:04:13,680 --> 00:04:17,840
Speaker 1: Gorgeous? The Softies They're just not only are they great musicians,

72
00:04:17,880 --> 00:04:19,640
Speaker 1: they're great people. Did you know that?

73
00:04:19,920 --> 00:04:21,800
Speaker 2: I knew that before you knew that.

74
00:04:22,000 --> 00:04:23,040
Speaker 1: Actually, it's true.

75
00:04:23,040 --> 00:04:24,760
Speaker 2: If you want to go to get down of brass

76
00:04:24,800 --> 00:04:29,000
Speaker 2: tacks about things, what's the weather like? Because we're like

77
00:04:29,080 --> 00:04:32,800
Speaker 2: in the throes of winter and you're, okay, Minnesota.

78
00:04:33,200 --> 00:04:36,960
Speaker 1: I'm in Minnesota. It was eighteen degrees this morning. What

79
00:04:37,360 --> 00:04:40,200
Speaker 1: and you know, I suit it up properly, and because

80
00:04:40,200 --> 00:04:42,839
Speaker 1: I had to go get donuts for my family for

81
00:04:42,920 --> 00:04:46,040
Speaker 1: them to survive. And I went to my local bakery,

82
00:04:46,200 --> 00:04:49,479
Speaker 1: a baker's wife is what it's called. And I walk in.

83
00:04:49,760 --> 00:04:53,080
Speaker 1: I am bundled head to toe. I look like William H.

84
00:04:53,120 --> 00:04:56,960
Speaker 1: Mason and Fargo basically. And there's a man in there

85
00:04:57,040 --> 00:04:59,920
Speaker 1: who's buying a dozen donuts. He's in a hoodie, sweatshir,

86
00:05:00,200 --> 00:05:04,359
Speaker 1: he's wearing gym shorts, and he's wearing Adida's flip flops,

87
00:05:04,960 --> 00:05:07,920
Speaker 1: no socks, and it was eighteen degrees out. Isn't that awful?

88
00:05:08,000 --> 00:05:08,719
Speaker 1: Isn't that crazy?

89
00:05:09,040 --> 00:05:12,200
Speaker 2: Yeah? I mean there are people that do wild things

90
00:05:12,320 --> 00:05:16,279
Speaker 2: in really really cold conditions that I'm just like, is

91
00:05:16,320 --> 00:05:18,960
Speaker 2: that sort of a like I just had to run

92
00:05:18,960 --> 00:05:20,839
Speaker 2: in real quick and I don't care what I look like?

93
00:05:20,960 --> 00:05:23,640
Speaker 2: Or is that like standard operating procedure for you? Are

94
00:05:23,680 --> 00:05:25,839
Speaker 2: you like the guy that's like, I don't give a

95
00:05:25,839 --> 00:05:31,279
Speaker 2: fook about no frostbite. I'll wear my flip flops, no socks.

96
00:05:31,760 --> 00:05:35,760
Speaker 1: There's this weird pressure in Minnesota to dress like just

97
00:05:36,040 --> 00:05:38,359
Speaker 1: warm enough for the weather. Like you get kind of

98
00:05:38,400 --> 00:05:41,200
Speaker 1: like mocked if you're like overdressed for how cold it is.

99
00:05:41,279 --> 00:05:43,240
Speaker 1: And I think everyone has sort of a fear of that,

100
00:05:43,560 --> 00:05:46,799
Speaker 1: whereas I am like, I'm just gonna get so insanely

101
00:05:46,839 --> 00:05:50,920
Speaker 1: bundled up that I just I refuse to be cold basically,

102
00:05:51,160 --> 00:05:54,400
Speaker 1: and so if I look like a frigging dork, then

103
00:05:54,720 --> 00:05:55,200
Speaker 1: so be it.

104
00:05:55,360 --> 00:06:01,520
Speaker 2: Yeah, there's no shame about preserving your body temperature. Yes,

105
00:06:01,839 --> 00:06:04,640
Speaker 2: sort of related to that story that you just told,

106
00:06:05,120 --> 00:06:07,520
Speaker 2: how just out of curiosity, how much is a dozen

107
00:06:07,560 --> 00:06:09,719
Speaker 2: donuts at your favorite donut place?

108
00:06:10,640 --> 00:06:13,920
Speaker 1: God, I don't even know it's Is it over ten bucks?

109
00:06:14,560 --> 00:06:15,760
Speaker 2: Is it double digits?

110
00:06:16,120 --> 00:06:19,880
Speaker 1: Uh? The place for a baker's wife, I would say,

111
00:06:19,920 --> 00:06:26,360
Speaker 1: it's probably like twenty bucks, yes, for a dozen.

112
00:06:26,839 --> 00:06:31,080
Speaker 2: A dozen donuts is over twenty bucks. Okay, So if

113
00:06:31,120 --> 00:06:34,720
Speaker 2: you've listened to episodes of my former podcast, I Saw

114
00:06:34,760 --> 00:06:37,919
Speaker 2: What You Did, you may have figured out that I

115
00:06:38,000 --> 00:06:39,600
Speaker 2: used to work in donuts in.

116
00:06:39,600 --> 00:06:41,960
Speaker 1: High school, the donut industry.

117
00:06:42,040 --> 00:06:44,440
Speaker 2: I was in the donut industry in high school. Not

118
00:06:44,520 --> 00:06:47,719
Speaker 2: only was I a donut sales lady, but I actually

119
00:06:47,880 --> 00:06:50,960
Speaker 2: made donuts at one point, Oh you did, yeah for

120
00:06:51,040 --> 00:06:55,480
Speaker 2: a very very very popular donut chain, Wow, which is

121
00:06:55,760 --> 00:06:59,360
Speaker 2: very closely affiliated with the old podcast that it did.

122
00:06:59,720 --> 00:07:05,480
Speaker 2: And this was ninety four, ninety five, perhaps maybe ninety six.

123
00:07:05,920 --> 00:07:10,080
Speaker 2: A dozen donuts was four dollars in ninety nine cents.

124
00:07:10,280 --> 00:07:14,440
Speaker 1: Wow. That's amazing. I wonder. So the place I went

125
00:07:14,480 --> 00:07:16,960
Speaker 1: to is a little bit more I would say, elevated.

126
00:07:17,000 --> 00:07:21,960
Speaker 1: It's like kind of a nicer bakery than a donut shop,

127
00:07:22,280 --> 00:07:25,120
Speaker 1: I would say, sure. So it would be interesting to

128
00:07:25,120 --> 00:07:27,560
Speaker 1: go to like my local, I don't know, hole in

129
00:07:27,600 --> 00:07:29,640
Speaker 1: the wall donut place to see how much one of

130
00:07:29,760 --> 00:07:31,320
Speaker 1: like a dozen would cost there.

131
00:07:31,680 --> 00:07:33,640
Speaker 2: Well, I mean, and this is probably gonna come up

132
00:07:33,680 --> 00:07:36,120
Speaker 2: perhaps when we talk about La, because La is like

133
00:07:36,440 --> 00:07:41,000
Speaker 2: completely filled with little shipball donut places on every corner,

134
00:07:41,240 --> 00:07:43,000
Speaker 2: which is like one of the things I love about LA.

135
00:07:43,440 --> 00:07:47,320
Speaker 2: But even in those instances, like in the shipball places,

136
00:07:47,840 --> 00:07:49,920
Speaker 2: I'm telling you a dozen donuts is over ten bucks.

137
00:07:49,960 --> 00:07:52,760
Speaker 1: Oh yeah, definitely, And my gripe, I have a.

138
00:07:52,720 --> 00:07:55,920
Speaker 2: Donut gripe, I guess wow. Which is that? I feel like,

139
00:07:56,160 --> 00:07:58,680
Speaker 2: even if we were having an elevated donut experience, I

140
00:07:58,720 --> 00:08:01,360
Speaker 2: still don't think it's that much more because the base

141
00:08:01,640 --> 00:08:05,280
Speaker 2: I agree the blueprint, the base level of a donut

142
00:08:05,680 --> 00:08:10,239
Speaker 2: is so inexpensive to make because you're just it's fried dough.

143
00:08:10,320 --> 00:08:13,640
Speaker 2: It's literal fried dough. And I remember my manager back

144
00:08:13,680 --> 00:08:18,240
Speaker 2: at said donut chain was like the ups charge in donuts,

145
00:08:18,240 --> 00:08:21,360
Speaker 2: like the production cost of a donut to what they charge.

146
00:08:21,720 --> 00:08:25,119
Speaker 2: The gap is so huge, Yes, that if you wanted

147
00:08:25,160 --> 00:08:28,320
Speaker 2: to be a millionaire easily, you just make donuts interesting

148
00:08:28,360 --> 00:08:31,119
Speaker 2: because people will overpay for donuts and they don't really

149
00:08:31,160 --> 00:08:33,280
Speaker 2: know how little it costs to make them.

150
00:08:33,320 --> 00:08:36,040
Speaker 1: I've heard that same thing about like pizza slice places,

151
00:08:36,280 --> 00:08:39,880
Speaker 1: because it's like just like dough essentially, you know, it's

152
00:08:39,920 --> 00:08:41,720
Speaker 1: like it's so cheap to make like a cheap slice

153
00:08:41,760 --> 00:08:44,000
Speaker 1: of pizza. In the same way that it's like, yeah,

154
00:08:44,040 --> 00:08:47,120
Speaker 1: the up charge is like crazy, That's why those places survive,

155
00:08:47,520 --> 00:08:47,720
Speaker 1: you know.

156
00:08:48,120 --> 00:08:50,679
Speaker 2: Yeah, so I but that is I think the thing

157
00:08:50,679 --> 00:08:55,040
Speaker 2: that annoys me about modern donuts is that the communication

158
00:08:55,320 --> 00:08:57,880
Speaker 2: to the consumer is, well, you're getting like a very

159
00:08:57,920 --> 00:09:01,800
Speaker 2: elevated donut, so that's why we're charging like six dollars

160
00:09:01,840 --> 00:09:05,680
Speaker 2: per donut. And I'm just like fuck that, Like, yeah,

161
00:09:05,720 --> 00:09:08,120
Speaker 2: just because you put a crumbled oreo on top of

162
00:09:08,160 --> 00:09:10,760
Speaker 2: it doesn't make it six dollars, because I know it

163
00:09:10,800 --> 00:09:13,040
Speaker 2: costs you like twenty five cents to make it.

164
00:09:13,120 --> 00:09:16,160
Speaker 1: And because like the disparity between, like the difference between

165
00:09:16,200 --> 00:09:19,120
Speaker 1: one of those like elevated donuts and like, what did

166
00:09:19,120 --> 00:09:22,560
Speaker 1: you say, shitball donuts. I could be the name of

167
00:09:22,559 --> 00:09:27,679
Speaker 1: a donuts store. We know, shitball donuts. The difference in

168
00:09:27,800 --> 00:09:32,680
Speaker 1: like enjoyment is so small, and sometimes the elevated ones

169
00:09:32,679 --> 00:09:34,800
Speaker 1: aren't as good as the shipball donuts. You know.

170
00:09:34,920 --> 00:09:38,120
Speaker 2: Oh man, sometimes a shitball donut is the.

171
00:09:38,040 --> 00:09:41,160
Speaker 1: Only way, the only way. Yeah, anyway, I would love

172
00:09:41,200 --> 00:09:42,960
Speaker 1: to talk more about shipball donuts when we get into

173
00:09:42,960 --> 00:09:46,720
Speaker 1: our La conversation, because La is secretly like the donut

174
00:09:47,000 --> 00:09:49,600
Speaker 1: capital of the world. Like, I don't think people realize that,

175
00:09:49,720 --> 00:09:50,680
Speaker 1: but it is.

176
00:09:50,880 --> 00:09:53,760
Speaker 2: Yeah, for for good and for bad, to be honest.

177
00:09:53,559 --> 00:09:56,160
Speaker 1: For good and for bad. Truly, well, malely, we got

178
00:09:56,160 --> 00:09:59,920
Speaker 1: to get into our film diary, and I would just

179
00:10:00,240 --> 00:10:05,080
Speaker 1: really love to hear which movies you watched this past week.

180
00:10:06,240 --> 00:10:09,439
Speaker 2: My shit is real chaotic this week. I'll just let

181
00:10:09,440 --> 00:10:12,440
Speaker 2: you know I didn't watch a ton but I sort

182
00:10:12,480 --> 00:10:15,720
Speaker 2: of watched a couple by the same director, and then

183
00:10:16,360 --> 00:10:19,880
Speaker 2: a movie that's so radically different from all of those things. Okay,

184
00:10:20,320 --> 00:10:24,600
Speaker 2: So right now, I'm like I've mentioned this before. I'm

185
00:10:25,080 --> 00:10:27,960
Speaker 2: finishing up my master's degree. It's taken me like two

186
00:10:28,000 --> 00:10:31,200
Speaker 2: thousand years to finish this dance thing. And you know,

187
00:10:31,280 --> 00:10:33,839
Speaker 2: I was in a production class where I was making

188
00:10:33,880 --> 00:10:36,120
Speaker 2: my own movies, and I had not been in a

189
00:10:36,120 --> 00:10:38,480
Speaker 2: production class in many, many, many years. I mean the

190
00:10:38,520 --> 00:10:39,960
Speaker 2: last time I was in a production class, we were

191
00:10:40,000 --> 00:10:43,520
Speaker 2: shooting with like sixteen millimeter Bolex cameras, like there wasn't

192
00:10:43,559 --> 00:10:46,880
Speaker 2: even digital video at the time. Yes, So now that

193
00:10:46,960 --> 00:10:49,800
Speaker 2: I've been reacquainted with all of the little, you know,

194
00:10:50,000 --> 00:10:52,760
Speaker 2: modern bells and whistles of movie making, I'm like, yo,

195
00:10:53,640 --> 00:10:56,200
Speaker 2: I'm inspired. I want to run out and start making

196
00:10:56,200 --> 00:10:59,240
Speaker 2: a bunch of weird you know, shorts and documentaries and stuff.

197
00:10:59,280 --> 00:11:02,439
Speaker 1: Oh, MILLI I love this. I think you should totally

198
00:11:02,920 --> 00:11:04,559
Speaker 1: do this. I think a lot of people get in

199
00:11:04,600 --> 00:11:07,000
Speaker 1: their own way, yeah, of being like, oh this isn't

200
00:11:07,200 --> 00:11:09,800
Speaker 1: this isn't the most professional I need it. It needs

201
00:11:09,840 --> 00:11:11,559
Speaker 1: to be super high end, Like I can't just make

202
00:11:11,600 --> 00:11:15,320
Speaker 1: something with my phone or like a small camera, but no,

203
00:11:15,679 --> 00:11:18,959
Speaker 1: you can. It can still be good. Yes, I love this.

204
00:11:19,120 --> 00:11:20,800
Speaker 1: Your inspiration is inspiring me.

205
00:11:21,200 --> 00:11:23,120
Speaker 2: Thank you. I'm glad to you know that we co

206
00:11:23,160 --> 00:11:25,439
Speaker 2: inspire each other. Because here's the thing that I realize

207
00:11:25,480 --> 00:11:28,360
Speaker 2: about myself. So when I've been out here making these

208
00:11:28,360 --> 00:11:31,280
Speaker 2: like little mini docs doing all my little weird art, okay,

209
00:11:31,320 --> 00:11:35,000
Speaker 2: I realized that I'm very very much influenced by like

210
00:11:35,040 --> 00:11:38,200
Speaker 2: the old school way of making documentaries. And when I

211
00:11:38,240 --> 00:11:40,960
Speaker 2: see myself as a person who could potentially make my

212
00:11:41,000 --> 00:11:43,600
Speaker 2: own documentaries, I see myself as literally like a picture

213
00:11:43,640 --> 00:11:46,120
Speaker 2: of that guy Nick Broomfield, where he's like he's got

214
00:11:46,120 --> 00:11:49,599
Speaker 2: his like can headphones and his boom pole and his

215
00:11:49,720 --> 00:11:52,440
Speaker 2: like little you know, porta bag, Like he's just like

216
00:11:52,480 --> 00:11:55,320
Speaker 2: a one man operation. Yeah, And I love that. And

217
00:11:55,360 --> 00:11:58,920
Speaker 2: I'm a huge fan of documentaries and you know, I

218
00:11:58,960 --> 00:12:02,080
Speaker 2: love Penelopees, of course, but I'm also a big fan

219
00:12:02,160 --> 00:12:04,760
Speaker 2: of like the Masals and like, you know, just like

220
00:12:04,960 --> 00:12:10,360
Speaker 2: old classic documentarians Errol Morris, you know, like the whole Kid.

221
00:12:10,559 --> 00:12:10,719
Speaker 1: Right.

222
00:12:11,160 --> 00:12:13,000
Speaker 2: So I decided that I wanted to go back and

223
00:12:13,040 --> 00:12:15,040
Speaker 2: sort of do a little like light research about my

224
00:12:15,080 --> 00:12:17,640
Speaker 2: favorite ones, and so I started watching all those less

225
00:12:17,679 --> 00:12:18,720
Speaker 2: Blank documentaries.

226
00:12:18,760 --> 00:12:19,480
Speaker 1: Again great.

227
00:12:19,880 --> 00:12:26,599
Speaker 2: So less Blank was a very famous and influential documentarian.

228
00:12:27,240 --> 00:12:31,680
Speaker 2: So he did, you know, documentaries about blues artists, most

229
00:12:31,679 --> 00:12:35,480
Speaker 2: notably the Lightning Hopkins one that he made. But he

230
00:12:35,559 --> 00:12:38,800
Speaker 2: also talked a lot about like sort of polka music

231
00:12:39,000 --> 00:12:42,959
Speaker 2: and sort of Appalachian music and Cajun and Creole music

232
00:12:43,000 --> 00:12:46,120
Speaker 2: and things of like the kind of traditional American primarily

233
00:12:46,200 --> 00:12:50,440
Speaker 2: Southern musical tradition. So anyway, his work is incredible. He

234
00:12:50,480 --> 00:12:52,679
Speaker 2: also did a lot about I don't know what you

235
00:12:52,679 --> 00:12:56,120
Speaker 2: would call them, sort of these like pockets of like Americana,

236
00:12:56,559 --> 00:13:00,000
Speaker 2: you know, like Marty Gras kind of like a slighth

237
00:13:00,160 --> 00:13:03,719
Speaker 2: of life Americana kind of documentarian cool. I mean I

238
00:13:03,760 --> 00:13:06,160
Speaker 2: watched several I watched a poem as a naked person.

239
00:13:06,240 --> 00:13:08,960
Speaker 2: I watched God respects us when we work, but loves

240
00:13:09,040 --> 00:13:11,720
Speaker 2: us when we dance. I you know, watched the one

241
00:13:11,720 --> 00:13:14,280
Speaker 2: on Lightning Hopkins. So I just was like basically on

242
00:13:14,360 --> 00:13:20,440
Speaker 2: Criterion Channel rewatching less blank documentaries and it was lovely amazing.

243
00:13:21,160 --> 00:13:24,479
Speaker 1: Yeah. I have only seen Burden of Dreams, the one about.

244
00:13:24,280 --> 00:13:26,839
Speaker 2: Oh yeah classic, Yes.

245
00:13:26,600 --> 00:13:32,360
Speaker 1: The Werner Hertzog. It's about the making of Fitzcaraldo Fitzkaraldo,

246
00:13:32,400 --> 00:13:34,680
Speaker 1: which is I mean, the documentary is almost is like

247
00:13:34,720 --> 00:13:37,000
Speaker 1: more insane than the movie itself, So.

248
00:13:37,120 --> 00:13:40,440
Speaker 2: It almost became its own genre, like documentaries that are

249
00:13:40,440 --> 00:13:44,240
Speaker 2: about making of really ambitious, big swing movies that are

250
00:13:44,320 --> 00:13:46,760
Speaker 2: kind of crazy. Yes, And the only reason why I

251
00:13:46,800 --> 00:13:50,400
Speaker 2: didn't rewatch that one because I just recently watched that one,

252
00:13:50,520 --> 00:13:52,680
Speaker 2: so I was like, I can skip Burden of Dreams

253
00:13:52,720 --> 00:13:56,400
Speaker 2: even though it's fucking fantastic. Everybody should watch it. But yeah,

254
00:13:56,440 --> 00:13:58,600
Speaker 2: so I just was watching kind of the shorter stuff.

255
00:13:59,200 --> 00:14:02,440
Speaker 2: So having said that, the other movie that I watched

256
00:14:02,440 --> 00:14:07,080
Speaker 2: this week, which again very different, is that I watched

257
00:14:07,240 --> 00:14:12,920
Speaker 2: the new restoration of Rolling Thunder from nineteen seventy seven.

258
00:14:13,080 --> 00:14:16,160
Speaker 1: I have never seen it. It's on my watch list.

259
00:14:16,600 --> 00:14:20,600
Speaker 2: It is amazing, It's dark as shit.

260
00:14:20,760 --> 00:14:24,120
Speaker 1: What is it? Give a quick a brief synopsis so it's.

261
00:14:24,040 --> 00:14:27,760
Speaker 2: Essentially a movie. You know. It was like originally written

262
00:14:28,280 --> 00:14:30,560
Speaker 2: and conceived by Paul Schrader, and it was kind of

263
00:14:30,600 --> 00:14:32,800
Speaker 2: around the time of Taxi Driver, so it was like,

264
00:14:32,840 --> 00:14:37,640
Speaker 2: you know, basically he was sort of writing about disgruntled

265
00:14:37,760 --> 00:14:40,000
Speaker 2: Vietnam veterans that were coming home and sort of like

266
00:14:40,360 --> 00:14:43,800
Speaker 2: assessing their world. And of course this is the seventies,

267
00:14:43,880 --> 00:14:47,640
Speaker 2: late seventies where America was grimy as fuck and like

268
00:14:48,040 --> 00:14:53,360
Speaker 2: really dark. So it's basically William Devane. He's probably what

269
00:14:53,520 --> 00:14:57,040
Speaker 2: makes the movie for me because he's not an obvious

270
00:14:57,160 --> 00:14:59,560
Speaker 2: choice in terms of like the lead of a movie

271
00:14:59,600 --> 00:15:03,080
Speaker 2: like this, Like I would think, Oh, de Niro, Paccino,

272
00:15:03,320 --> 00:15:06,800
Speaker 2: like whoever, seventies actors like George C. Scott, like people

273
00:15:06,800 --> 00:15:08,960
Speaker 2: that appear in these types of movies in the seventies.

274
00:15:09,320 --> 00:15:12,800
Speaker 2: William Devane, I feel like, was mostly famous for he

275
00:15:12,960 --> 00:15:15,360
Speaker 2: was like on Knots Landing. He was like a TV guy,

276
00:15:15,800 --> 00:15:17,880
Speaker 2: and if you see him, you'll definitely know he is

277
00:15:17,880 --> 00:15:19,720
Speaker 2: because he's been in a lot of other movies too

278
00:15:20,080 --> 00:15:24,320
Speaker 2: before and since. But his portrayal of this character of this,

279
00:15:24,760 --> 00:15:28,480
Speaker 2: you know, basically he's like a guy that's home from Vietnam.

280
00:15:28,560 --> 00:15:31,360
Speaker 2: He was a pow in the war. Him and Tommy

281
00:15:31,440 --> 00:15:33,920
Speaker 2: Lee Jones, who's also in the movie. A bunch of

282
00:15:34,400 --> 00:15:37,480
Speaker 2: you know, POWs from Vietnam come home and they're just

283
00:15:37,520 --> 00:15:40,680
Speaker 2: trying to get readjusted to like their normal lives, and

284
00:15:41,240 --> 00:15:44,720
Speaker 2: there's tragedy that happens at some point with his family

285
00:15:44,840 --> 00:15:47,720
Speaker 2: and he just like goes fucking berserk. So there's this

286
00:15:48,440 --> 00:15:54,600
Speaker 2: kind of death wishish element to it, but it's also like, again,

287
00:15:54,680 --> 00:15:58,320
Speaker 2: it's kind of a character study because William Devane in

288
00:15:58,760 --> 00:16:06,080
Speaker 2: Rolling Thunder is a cool customer, and he's cool because

289
00:16:06,200 --> 00:16:10,520
Speaker 2: a he's a cool actor, but also like it's trauma. Basically,

290
00:16:10,520 --> 00:16:15,000
Speaker 2: the reason why he's so buttoned up and non emotional

291
00:16:15,080 --> 00:16:18,360
Speaker 2: is because he was you know, captured, And there's this

292
00:16:18,480 --> 00:16:22,440
Speaker 2: dance between you're like, man, this is the coolest dude

293
00:16:22,440 --> 00:16:26,480
Speaker 2: to ever live, or he's gonna explode and just take

294
00:16:26,520 --> 00:16:30,240
Speaker 2: out everyone. So you're waiting. You're just kind of waiting

295
00:16:30,280 --> 00:16:33,520
Speaker 2: in that moment. And he wears a really cool pair

296
00:16:33,760 --> 00:16:36,400
Speaker 2: of like aviators and he wears them all the time.

297
00:16:36,840 --> 00:16:39,680
Speaker 2: I don't know. It's like one of those classic seventies

298
00:16:39,760 --> 00:16:42,440
Speaker 2: movies that is about like kind of like anti heroes

299
00:16:42,480 --> 00:16:46,880
Speaker 2: and it's violin and you know it's crime related. So anyway,

300
00:16:47,000 --> 00:16:48,800
Speaker 2: I recommend you watch it immediate.

301
00:16:48,880 --> 00:16:51,200
Speaker 1: Fabulous, Yeah, fabulous, what about you. I had a bit

302
00:16:51,240 --> 00:16:56,280
Speaker 1: of a light week this week. We watched a movie,

303
00:16:57,400 --> 00:17:02,680
Speaker 1: the latest Eli Roth film called Thanksgiving. Yeah, if you

304
00:17:02,720 --> 00:17:06,000
Speaker 1: ever saw the movie Grindhouse Quentin Tarantino and Robert Rodriguez.

305
00:17:06,000 --> 00:17:08,760
Speaker 1: There was a bunch of fake movie trailers, and a

306
00:17:08,800 --> 00:17:11,360
Speaker 1: bunch of those have been made into movies now, including

307
00:17:11,520 --> 00:17:16,520
Speaker 1: Michete and now Thanksgiving and uh It stars you know,

308
00:17:16,640 --> 00:17:21,239
Speaker 1: Mick Dreamy from Grey's Anatomy, Patrick Dempsey, and it was

309
00:17:22,200 --> 00:17:24,080
Speaker 1: I thought it was fun. It was a fun time.

310
00:17:24,119 --> 00:17:27,399
Speaker 1: I think the script could have used another pass. There

311
00:17:27,400 --> 00:17:30,639
Speaker 1: were some elements that I found kind of like confusing,

312
00:17:30,920 --> 00:17:32,960
Speaker 1: which isn't always a good That's not a good thing.

313
00:17:33,000 --> 00:17:36,040
Speaker 1: I don't feel like when you're like confused in a

314
00:17:36,080 --> 00:17:40,880
Speaker 1: slasher movie. So that was fine. I would say, Oh cool, Well.

315
00:17:40,760 --> 00:17:43,400
Speaker 2: I always wanted Edgar Wright to make.

316
00:17:43,320 --> 00:17:46,600
Speaker 1: Don't Yes, Do you remember that? I think that's the

317
00:17:46,680 --> 00:17:48,680
Speaker 1: last one that had that's the only one that hasn't

318
00:17:48,720 --> 00:17:49,120
Speaker 1: been made.

319
00:17:49,200 --> 00:17:50,200
Speaker 2: Yeah, it'd be fun.

320
00:17:50,280 --> 00:17:52,439
Speaker 1: That would be fun. I would love that. You know,

321
00:17:52,520 --> 00:17:57,040
Speaker 1: the Thanksgiving movie in general is uh there there there

322
00:17:57,040 --> 00:17:59,520
Speaker 1: aren't that many good ones. I feel like I like

323
00:17:59,640 --> 00:18:02,320
Speaker 1: the uh what is it? The day trippers? Of course,

324
00:18:02,400 --> 00:18:04,679
Speaker 1: of course home for the holidays, But I don't know

325
00:18:04,720 --> 00:18:07,959
Speaker 1: Thanksgiving movies there aren't like that many planes, trains and automobiles.

326
00:18:08,000 --> 00:18:09,720
Speaker 1: I feel like there could be more good ones.

327
00:18:09,920 --> 00:18:13,400
Speaker 2: So, yeah, there could be. If there were more, would

328
00:18:13,440 --> 00:18:15,840
Speaker 2: you make it a big tradition to watch them every year?

329
00:18:16,000 --> 00:18:19,560
Speaker 1: That's interesting. I have to say, Thanksgiving is like one

330
00:18:19,600 --> 00:18:23,040
Speaker 1: of my least favorite holidays, so I don't really like

331
00:18:23,080 --> 00:18:25,240
Speaker 1: to like sit in that space. So I don't you know,

332
00:18:25,320 --> 00:18:28,040
Speaker 1: maybe that's why there aren't that many good Thanksgiving movies. Yeah,

333
00:18:28,040 --> 00:18:29,479
Speaker 1: because Thanksgiving can be kind of a bummer.

334
00:18:29,600 --> 00:18:32,280
Speaker 2: I've advocated that it get canceled in the past, have

335
00:18:32,359 --> 00:18:35,000
Speaker 2: you no, Because I feel like Halloween is such a

336
00:18:35,000 --> 00:18:37,880
Speaker 2: strong holiday and Christmas is such a strong holiday that

337
00:18:38,000 --> 00:18:40,359
Speaker 2: why not just cut out the middleman? Literally just cut

338
00:18:40,359 --> 00:18:43,080
Speaker 2: it out. I feel like Christmas in terms of food

339
00:18:43,240 --> 00:18:45,080
Speaker 2: has pretty much become Thanksgiving.

340
00:18:45,200 --> 00:18:47,120
Speaker 1: Yeah, it's like the same stuff, Like people.

341
00:18:46,920 --> 00:18:49,439
Speaker 2: Serve turkey and ham and Christmas, So why do we

342
00:18:49,520 --> 00:18:52,880
Speaker 2: do Thanksgiving? Plus there's all this like you know, loaded

343
00:18:52,880 --> 00:18:54,280
Speaker 2: political stuff with it.

344
00:18:54,400 --> 00:18:58,040
Speaker 1: With the actual holiday very loaded. I think Christmas and

345
00:18:58,520 --> 00:19:02,800
Speaker 1: Halloween have enough, you know, juice, They have enough juice.

346
00:19:03,160 --> 00:19:04,800
Speaker 1: Or maybe we could just sort of meet in the middle.

347
00:19:05,000 --> 00:19:07,600
Speaker 1: You know. It's like, you add another fifteen days to

348
00:19:07,600 --> 00:19:11,080
Speaker 1: the Christmas season, add another fifteen days to Halloween season.

349
00:19:11,200 --> 00:19:12,680
Speaker 1: We can kind of bridge the gap. Though.

350
00:19:12,680 --> 00:19:15,520
Speaker 2: Oh, they've already added fifteen days, babe, Like Dave added

351
00:19:15,560 --> 00:19:18,199
Speaker 2: fifteen days to Halloween. I swear of got Halloween is

352
00:19:18,200 --> 00:19:19,160
Speaker 2: at least a week.

353
00:19:19,000 --> 00:19:21,720
Speaker 1: Now, at least after the thirty first.

354
00:19:21,720 --> 00:19:25,399
Speaker 2: Oh, before and after. It depends on when Halloween is. Like,

355
00:19:25,480 --> 00:19:29,040
Speaker 2: if it's midweek, people are celebrating before and after. If

356
00:19:29,040 --> 00:19:32,400
Speaker 2: it's on a Saturday, it's the week before. They've extended Halloween.

357
00:19:32,440 --> 00:19:36,240
Speaker 1: They've extended it. So yeah, Thanksgiving it's very brown. It's

358
00:19:36,280 --> 00:19:38,560
Speaker 1: like the ugliest time of year. There's like no snow.

359
00:19:38,800 --> 00:19:39,000
Speaker 2: Yes.

360
00:19:39,040 --> 00:19:44,000
Speaker 1: Anyways, Then I also watched House of Games. Have you

361
00:19:44,000 --> 00:19:44,600
Speaker 1: seen this movie?

362
00:19:44,680 --> 00:19:46,480
Speaker 2: David Mammott, Right, No, haven't seen it.

363
00:19:46,480 --> 00:19:51,600
Speaker 1: It's fun, it's a good kind of like crime sexy

364
00:19:51,720 --> 00:19:52,600
Speaker 1: Jill Montana.

365
00:19:52,920 --> 00:19:54,639
Speaker 2: It's not a Criterion House of Games.

366
00:19:54,720 --> 00:19:57,800
Speaker 1: I think it might be. Okay, it's good and yeah,

367
00:19:57,840 --> 00:19:58,320
Speaker 1: that was.

368
00:19:58,280 --> 00:20:10,480
Speaker 3: My last entry in my film diary.

369
00:20:10,560 --> 00:20:13,240
Speaker 2: All right, So what you want to talk about La

370
00:20:13,720 --> 00:20:14,560
Speaker 2: Los Angeles?

371
00:20:14,680 --> 00:20:15,320
Speaker 1: Let's do it.

372
00:20:17,600 --> 00:20:19,199
Speaker 2: When I talk to you about. Hey, what are we

373
00:20:19,200 --> 00:20:21,040
Speaker 2: going to talk about this week? I had just come

374
00:20:21,080 --> 00:20:24,760
Speaker 2: off of seeing the new four K blu ray of

375
00:20:24,960 --> 00:20:29,520
Speaker 2: the original Terminator movie from nineteen eighty four. Great, so casey, Okay.

376
00:20:29,760 --> 00:20:34,400
Speaker 2: Maybe for the people who have never seen the Original Terminator,

377
00:20:34,560 --> 00:20:38,200
Speaker 2: I don't know how that's possible. It's only the best

378
00:20:38,200 --> 00:20:41,639
Speaker 2: movie of all time. Could you like tell the people

379
00:20:41,720 --> 00:20:44,240
Speaker 2: who haven't seen it a little bit about what it's about?

380
00:20:44,640 --> 00:20:47,399
Speaker 1: Absolutely, you know. I feel like it's pretty common for

381
00:20:47,480 --> 00:20:51,560
Speaker 1: people to have seen T two and not seen T one.

382
00:20:51,800 --> 00:20:53,040
Speaker 1: I don't think that's insane.

383
00:20:53,160 --> 00:20:54,320
Speaker 2: I don't think it is either.

384
00:20:54,200 --> 00:20:59,760
Speaker 1: So I'm happy. I'm happy to relay some information. So, basically,

385
00:21:00,520 --> 00:21:04,120
Speaker 1: this movie is about Sarah Conna. She is a young

386
00:21:04,119 --> 00:21:08,080
Speaker 1: woman living and working in Los Angeles. She rides around

387
00:21:08,080 --> 00:21:13,080
Speaker 1: a little molliped and one day she's visited by a

388
00:21:13,359 --> 00:21:18,920
Speaker 1: robot man from the future, the Terminator, Arnold Swarzenegger, who

389
00:21:18,960 --> 00:21:24,480
Speaker 1: is there to kill her because she is the mother

390
00:21:24,720 --> 00:21:28,439
Speaker 1: of John Connor, the future mother of She's not a

391
00:21:28,480 --> 00:21:30,480
Speaker 1: mother at this point in the movie, but she eventually

392
00:21:30,520 --> 00:21:34,360
Speaker 1: becomes the mother of John Connor, who is like the

393
00:21:34,640 --> 00:21:40,639
Speaker 1: rebel leader against the robots in the future war against Robots,

394
00:21:41,000 --> 00:21:45,240
Speaker 1: So Arnold's there to kill her. She's confused, and then

395
00:21:45,600 --> 00:21:52,600
Speaker 1: this other guy shows up, what's his name, Kyle, Kyle

396
00:21:52,720 --> 00:21:58,280
Speaker 1: k Kyle shows up to protect her from the Terminator,

397
00:21:58,960 --> 00:22:02,840
Speaker 1: and that is essent the plot of T one, And

398
00:22:02,960 --> 00:22:07,680
Speaker 1: since I already mentioned T two, they're inextricably linked. Can

399
00:22:07,720 --> 00:22:10,480
Speaker 1: you just give a quick synopsis of T two?

400
00:22:10,960 --> 00:22:11,400
Speaker 3: Millie?

401
00:22:11,560 --> 00:22:14,280
Speaker 2: Yeah, I mean, I mean this is all insane. Oh yeah,

402
00:22:14,359 --> 00:22:17,000
Speaker 2: Kyle Rease, I forgot. I was like, what's this last naving?

403
00:22:17,200 --> 00:22:18,600
Speaker 1: I think Kyle came back.

404
00:22:19,080 --> 00:22:24,200
Speaker 2: We're back. So essentially, Terminator two is the scenario where

405
00:22:24,680 --> 00:22:28,120
Speaker 2: Sarah Connor has been sent to a mental facility because

406
00:22:28,160 --> 00:22:31,959
Speaker 2: she's crazy because she has these like robot visions and

407
00:22:32,359 --> 00:22:34,520
Speaker 2: is telling people about how the future is so fucked

408
00:22:34,800 --> 00:22:38,679
Speaker 2: and like her teenage son, John Connor, is now in

409
00:22:38,720 --> 00:22:41,720
Speaker 2: foster care running the streets. Here's the thing. The T

410
00:22:41,800 --> 00:22:44,520
Speaker 2: eight hundred, who was Arnold in the first movie, has

411
00:22:44,680 --> 00:22:47,840
Speaker 2: been reprogrammed, and now he comes back to help Sarah

412
00:22:47,880 --> 00:22:52,240
Speaker 2: and John against this brand spank and new robot. The

413
00:22:52,280 --> 00:22:55,120
Speaker 2: T one thousand, who was played by Robert Patrick. That's

414
00:22:55,119 --> 00:22:58,119
Speaker 2: the liquid metal cop if you if you know, if

415
00:22:58,160 --> 00:23:00,800
Speaker 2: you've heard about this before? So any wait, it's kind

416
00:23:00,800 --> 00:23:04,120
Speaker 2: of now Arnold, who was bad in the first movie

417
00:23:04,160 --> 00:23:05,800
Speaker 2: isn't actually now the good guy and he's kind of

418
00:23:05,800 --> 00:23:09,479
Speaker 2: a father figure to John Connor. Very interesting stuff.

419
00:23:09,560 --> 00:23:12,280
Speaker 1: Did you know that Robert Patrick is the older brother

420
00:23:12,680 --> 00:23:15,520
Speaker 1: of the lead singer of Phil Or Sure? What are

421
00:23:15,520 --> 00:23:15,679
Speaker 1: you at?

422
00:23:15,800 --> 00:23:17,760
Speaker 2: Nuts? You think I didn't grow up in the nineties

423
00:23:17,800 --> 00:23:20,760
Speaker 2: listening to alternative music? God? I mean, who do you

424
00:23:20,760 --> 00:23:22,720
Speaker 2: think I am? I knew that. Also, did you know

425
00:23:22,760 --> 00:23:24,520
Speaker 2: that Robert Patrick is from my hometown?

426
00:23:24,720 --> 00:23:25,360
Speaker 1: Didn't know that?

427
00:23:25,600 --> 00:23:28,600
Speaker 2: And probably his brother too, right, because they're related?

428
00:23:28,640 --> 00:23:29,840
Speaker 1: A man? Nice shot.

429
00:23:30,000 --> 00:23:32,720
Speaker 2: What is your history with Terminator? Did you watch it

430
00:23:32,960 --> 00:23:35,200
Speaker 2: as a child? Like I do you think I now saw?

431
00:23:35,320 --> 00:23:38,440
Speaker 1: I saw both T one and T two very late.

432
00:23:38,600 --> 00:23:40,239
Speaker 1: I would say I've saw them in the last like

433
00:23:41,000 --> 00:23:44,400
Speaker 1: seven years for the first time. Some of those movies,

434
00:23:44,760 --> 00:23:46,560
Speaker 1: if you just don't see him at the right time,

435
00:23:46,720 --> 00:23:48,439
Speaker 1: you have to seek them out on your own, and

436
00:23:48,480 --> 00:23:52,240
Speaker 1: you don't necessarily do that, you know, And so I

437
00:23:52,320 --> 00:23:55,560
Speaker 1: just sort of missed them, and so I don't have

438
00:23:55,680 --> 00:24:00,200
Speaker 1: much of a relationship with these movies at all. I

439
00:24:00,280 --> 00:24:03,280
Speaker 1: have somewhat of a relationship with James Cameron. I like

440
00:24:03,680 --> 00:24:05,960
Speaker 1: some of his films a lot. Yeah, and I find

441
00:24:06,000 --> 00:24:09,800
Speaker 1: him to be a very interesting person. But I would

442
00:24:09,840 --> 00:24:11,560
Speaker 1: say I'm more like I was like more of a

443
00:24:11,600 --> 00:24:15,520
Speaker 1: fan of like Aliens than I was of The Terminator.

444
00:24:15,880 --> 00:24:18,159
Speaker 2: Okay, okay, good to know.

445
00:24:18,280 --> 00:24:19,320
Speaker 1: What about you, Millie.

446
00:24:19,680 --> 00:24:22,919
Speaker 2: My history with Terminator is that I remember seeing the

447
00:24:22,920 --> 00:24:25,879
Speaker 2: First Terminator at some point in my early childhood, like

448
00:24:25,920 --> 00:24:29,879
Speaker 2: in the eighties, right. It was probably on TV because

449
00:24:30,560 --> 00:24:33,960
Speaker 2: I carried a knowledge of you know, certainly of like

450
00:24:34,160 --> 00:24:37,560
Speaker 2: Arnold Schwarzenegger as a Terminator at some point like I

451
00:24:37,640 --> 00:24:40,760
Speaker 2: was maybe when in elementary school, and I remember people

452
00:24:40,840 --> 00:24:42,879
Speaker 2: saying like, I'll be back, and I'm like, oh, I

453
00:24:42,920 --> 00:24:46,560
Speaker 2: know what that's from. Even though I don't really specifically

454
00:24:46,600 --> 00:24:48,960
Speaker 2: remember a lot of things about the First Terminator as

455
00:24:48,960 --> 00:24:52,439
Speaker 2: a child, it wasn't until T two came out. Now

456
00:24:52,800 --> 00:24:57,000
Speaker 2: Terminator Too. Judgment Day came out at a time almost

457
00:24:57,040 --> 00:24:59,960
Speaker 2: kind of the perfect moment for me for it to

458
00:25:00,160 --> 00:25:02,320
Speaker 2: have become my favorite not only my favorite movie, but

459
00:25:02,359 --> 00:25:04,640
Speaker 2: like one of my favorite movies still of all time.

460
00:25:04,840 --> 00:25:05,280
Speaker 1: Wow.

461
00:25:05,520 --> 00:25:08,720
Speaker 2: Yes, because there was several things happening with Terminator two

462
00:25:08,920 --> 00:25:12,480
Speaker 2: when it came out that completely radicalized me. Because number one,

463
00:25:12,640 --> 00:25:14,320
Speaker 2: it was a blockbuster. I mean, it was such a

464
00:25:14,400 --> 00:25:17,479
Speaker 2: huge film. I watched it in the theater, but then

465
00:25:17,480 --> 00:25:20,920
Speaker 2: I also watched it on VHS with my friend Karen

466
00:25:21,400 --> 00:25:24,439
Speaker 2: after school. We watched it like maybe twenty times.

467
00:25:24,640 --> 00:25:25,040
Speaker 1: Wow.

468
00:25:25,080 --> 00:25:27,520
Speaker 2: So it was exciting. And there was other things about

469
00:25:27,520 --> 00:25:30,240
Speaker 2: it too. But the biggest things for me, the things

470
00:25:30,240 --> 00:25:34,040
Speaker 2: that really grabbed me. Number one, guns n' Roses on

471
00:25:34,119 --> 00:25:37,520
Speaker 2: the soundtrack, sure, because they were my favorite band in

472
00:25:37,560 --> 00:25:38,040
Speaker 2: this era.

473
00:25:38,240 --> 00:25:38,560
Speaker 1: Wow.

474
00:25:38,600 --> 00:25:40,800
Speaker 2: And they did a song called you Could Be Mine

475
00:25:41,119 --> 00:25:43,360
Speaker 2: and the video used to play on MTV all the time,

476
00:25:43,400 --> 00:25:46,639
Speaker 2: and it contained clips from Terminator two and was like,

477
00:25:46,680 --> 00:25:48,400
Speaker 2: oh my god, guns n' Roses the best band ever.

478
00:25:48,600 --> 00:25:52,639
Speaker 2: So there was that. But then, really the biggest I

479
00:25:52,800 --> 00:25:59,760
Speaker 2: have to say, Edward Furlong. Huge crush huge. I mean,

480
00:25:59,800 --> 00:26:03,240
Speaker 2: like you don't even understand, like how big of a

481
00:26:03,240 --> 00:26:05,840
Speaker 2: crush I had on Edward Furlong when Terminator two came out.

482
00:26:06,040 --> 00:26:08,040
Speaker 1: You know what it was? I spoke of this with

483
00:26:08,160 --> 00:26:13,439
Speaker 1: River Phoenix. He's got that beautiful cascading nineties hair that

484
00:26:13,600 --> 00:26:16,199
Speaker 1: just like little wisps are like dangling in front of

485
00:26:16,200 --> 00:26:18,200
Speaker 1: his eyes. He's kind of you know, and he's just

486
00:26:18,280 --> 00:26:22,159
Speaker 1: got this beautiful straight hair that I would have, As

487
00:26:22,160 --> 00:26:24,080
Speaker 1: I said in a previous episode, I would have killed

488
00:26:24,080 --> 00:26:25,760
Speaker 1: a person to have that hair.

489
00:26:25,560 --> 00:26:29,000
Speaker 2: So absolutely, And Edward Furlong is my age. He might

490
00:26:29,040 --> 00:26:31,800
Speaker 2: be like a year or two older than me. And typically,

491
00:26:31,960 --> 00:26:34,800
Speaker 2: I have to say typically, I was never I never

492
00:26:35,080 --> 00:26:37,880
Speaker 2: liked the boys of my era for the most part,

493
00:26:37,960 --> 00:26:40,280
Speaker 2: Like you know, I talked about this on I saw

494
00:26:40,280 --> 00:26:43,360
Speaker 2: what you did with Leonardo DiCaprio, Like I just for

495
00:26:43,359 --> 00:26:45,520
Speaker 2: some reason was like, I don't like him. He seems

496
00:26:45,560 --> 00:26:47,120
Speaker 2: like he's a guy that goes to my high school

497
00:26:47,119 --> 00:26:49,320
Speaker 2: and he's an asshole. Like I'm just not I was

498
00:26:49,359 --> 00:26:52,080
Speaker 2: always liking guys who were like slightly older than me. Yeah,

499
00:26:52,080 --> 00:26:54,840
Speaker 2: but Edward Furlong was literally like the guy that was

500
00:26:54,920 --> 00:26:58,720
Speaker 2: my age, and I could not stand how cute he was.

501
00:26:59,160 --> 00:27:02,320
Speaker 2: And I was like all about those like sensitive, dark haired,

502
00:27:02,520 --> 00:27:03,639
Speaker 2: teen heartthrob guys.

503
00:27:03,680 --> 00:27:05,520
Speaker 1: He seemed kind of like a bad boy, even like

504
00:27:05,600 --> 00:27:07,000
Speaker 1: it was a little kid. He kind of had like

505
00:27:07,040 --> 00:27:09,640
Speaker 1: a mystery to him, you know what's going on there?

506
00:27:09,720 --> 00:27:12,840
Speaker 2: Oh yeah, with his like little thievery in the movie

507
00:27:12,880 --> 00:27:15,359
Speaker 2: where he's like stealing out of ATMs and riding his

508
00:27:15,400 --> 00:27:18,760
Speaker 2: dirt bike with Bobby Buttnick from Salute Your Shorts.

509
00:27:19,000 --> 00:27:21,760
Speaker 1: Yes, yeah, yeah, Salut Your Shirts has come up in

510
00:27:21,800 --> 00:27:22,880
Speaker 1: a previous episode.

511
00:27:22,960 --> 00:27:26,280
Speaker 2: Yes, we've mentioned Bobby Buttonick at least twice on this podcast.

512
00:27:26,560 --> 00:27:31,399
Speaker 2: So I was like obsessed with this movie and essentially

513
00:27:31,480 --> 00:27:37,600
Speaker 2: it informed my vision of Los Angeles before I knew

514
00:27:37,640 --> 00:27:40,680
Speaker 2: what Los Angeles was, before I lived there. Certainly, Yeah,

515
00:27:40,720 --> 00:27:43,920
Speaker 2: I mean it basically told me that there's this La

516
00:27:44,119 --> 00:27:46,199
Speaker 2: River basin that never has water in it that you

517
00:27:46,200 --> 00:27:49,879
Speaker 2: could drive cars through and like dirt bikes and shoot

518
00:27:49,920 --> 00:27:51,000
Speaker 2: guns and stuff.

519
00:27:51,119 --> 00:27:53,119
Speaker 1: I feel like it never does have water in it,

520
00:27:53,320 --> 00:27:54,240
Speaker 1: and it is there.

521
00:27:54,520 --> 00:27:57,080
Speaker 2: That's so exciting. Like as a person who's from the South,

522
00:27:57,080 --> 00:27:58,760
Speaker 2: I was like, oh my god, that looks so cool.

523
00:27:59,160 --> 00:28:03,840
Speaker 2: But anyway, point being is that Terminator two was my everything,

524
00:28:04,640 --> 00:28:07,600
Speaker 2: and it really is now my favorite of any of

525
00:28:07,640 --> 00:28:11,119
Speaker 2: the Terminator properties, sure and will be forever. It's just

526
00:28:11,560 --> 00:28:13,800
Speaker 2: it just came out during my childhood. It was a

527
00:28:13,800 --> 00:28:16,959
Speaker 2: flashpoint moment for me. So when I watched the first

528
00:28:17,080 --> 00:28:20,800
Speaker 2: Terminator again, it's you know, on again. Blu Ray four

529
00:28:20,880 --> 00:28:24,760
Speaker 2: K looks fantastic By the way. I have to say,

530
00:28:25,520 --> 00:28:28,240
Speaker 2: part of the greatest thing about four k's and new

531
00:28:28,320 --> 00:28:30,000
Speaker 2: restorations and that kind of stuff is that you get

532
00:28:30,000 --> 00:28:32,520
Speaker 2: to see so much of the background now of things, yeah,

533
00:28:32,600 --> 00:28:36,000
Speaker 2: totally that you've never noticed, like handwritten notes and like

534
00:28:36,080 --> 00:28:39,120
Speaker 2: weird little fucking characters that you're like, oh, I watched

535
00:28:39,160 --> 00:28:41,760
Speaker 2: this on a four x three black and white television

536
00:28:41,760 --> 00:28:44,000
Speaker 2: on a fucking VHS, Like, I didn't even know that

537
00:28:44,000 --> 00:28:47,120
Speaker 2: that character was back there doing a little dance. But anyway,

538
00:28:48,120 --> 00:28:52,960
Speaker 2: so yeah, rewatching the first Terminator movie again, I my

539
00:28:53,000 --> 00:28:56,600
Speaker 2: first instinct was like, I like this. Obviously, it's the

540
00:28:56,640 --> 00:29:00,720
Speaker 2: origin story for everything else and certainly my favorite term movie.

541
00:29:00,720 --> 00:29:04,080
Speaker 2: But I still like Terminator two better. I still do.

542
00:29:04,240 --> 00:29:08,000
Speaker 1: To me, they're like different species almost, yeah, they really are.

543
00:29:08,280 --> 00:29:13,760
Speaker 1: T two feels like so much more modern and like

544
00:29:14,360 --> 00:29:18,320
Speaker 1: the Terminator feels like an old movie and they only

545
00:29:18,360 --> 00:29:21,360
Speaker 1: came out like six years apart, but T two feels

546
00:29:21,400 --> 00:29:25,480
Speaker 1: like one hundred years more advanced and more cinematic and

547
00:29:25,560 --> 00:29:27,880
Speaker 1: bigger and shinier.

548
00:29:28,040 --> 00:29:31,560
Speaker 2: Right, And the biggest distinction, I think, which is probably

549
00:29:31,560 --> 00:29:35,520
Speaker 2: pretty obvious, is that the Terminator was a bad guy

550
00:29:35,600 --> 00:29:37,040
Speaker 2: in the first one, and he's a good guy in

551
00:29:37,080 --> 00:29:37,760
Speaker 2: the second one.

552
00:29:37,840 --> 00:29:40,480
Speaker 1: Yeah, you know, another four K restoration. I feel like

553
00:29:40,520 --> 00:29:42,800
Speaker 1: you get to see Arnold's dick a little bit better

554
00:29:42,920 --> 00:29:46,080
Speaker 1: than you might have in the old you know, the

555
00:29:46,120 --> 00:29:47,920
Speaker 1: old VHS version. Uh huh.

556
00:29:48,040 --> 00:29:51,480
Speaker 2: So glad you brought that up. That's the other thing

557
00:29:51,720 --> 00:29:54,960
Speaker 2: about four k's Blu Rays especially, is that you could

558
00:29:55,000 --> 00:29:58,840
Speaker 2: really drill down into the visuals of moments like this

559
00:29:59,120 --> 00:30:01,360
Speaker 2: where we we I mean I watched it with two

560
00:30:01,440 --> 00:30:03,720
Speaker 2: gay dudes, so of course we were gonna like, hey,

561
00:30:03,800 --> 00:30:06,200
Speaker 2: what are we looking at here? Yeah, And it was

562
00:30:06,280 --> 00:30:08,920
Speaker 2: kind of a kind of incredible because you are like, well,

563
00:30:09,000 --> 00:30:10,720
Speaker 2: you can see a lot of detail on this thing

564
00:30:10,840 --> 00:30:14,040
Speaker 2: we never saw before. But having said that, I mean,

565
00:30:14,560 --> 00:30:17,640
Speaker 2: the whole idea of Arnold and this is I think

566
00:30:17,640 --> 00:30:19,560
Speaker 2: part of the special features that we watched. But I

567
00:30:19,560 --> 00:30:22,560
Speaker 2: had always heard this was that Arnold really did not

568
00:30:22,800 --> 00:30:24,560
Speaker 2: want the Terminator to be a good guy.

569
00:30:24,720 --> 00:30:25,200
Speaker 1: Interesting.

570
00:30:25,320 --> 00:30:27,400
Speaker 2: He was like, he wanted it to be a bad guy.

571
00:30:27,880 --> 00:30:31,640
Speaker 2: And basically James Cameron when they made Terminator two, he

572
00:30:31,760 --> 00:30:34,080
Speaker 2: was like, there's no fucking way you can be a

573
00:30:34,080 --> 00:30:36,280
Speaker 2: bad guy again. You're like America's sweetheart.

574
00:30:36,400 --> 00:30:39,720
Speaker 1: Yes, I mean, he was a huge movie star at

575
00:30:39,720 --> 00:30:43,200
Speaker 1: that point, like the Terminator, he is kind of not

576
00:30:43,520 --> 00:30:47,560
Speaker 1: the lead guy. No, you know, Kyle Reese is the

577
00:30:47,640 --> 00:30:51,400
Speaker 1: lead guy sort of, and if you do Tea Too,

578
00:30:51,760 --> 00:30:53,880
Speaker 1: it has to be Arnold obviously.

579
00:30:54,200 --> 00:30:58,240
Speaker 2: Well, and like to that point, I forget about Kyle Reaes,

580
00:30:58,320 --> 00:31:02,040
Speaker 2: like I unfortunately feel like even though he is the

581
00:31:02,080 --> 00:31:06,040
Speaker 2: main character, he is overshadowed by Arnold Schwarzenegger in the

582
00:31:06,080 --> 00:31:07,120
Speaker 2: first Terminator.

583
00:31:06,800 --> 00:31:10,360
Speaker 1: One hundred percent. I do like that actor though, Michael Bean.

584
00:31:10,520 --> 00:31:13,280
Speaker 1: I mean, he's like a really hot guy too, but

585
00:31:13,720 --> 00:31:16,560
Speaker 1: I mean we don't get to see his dick outline

586
00:31:16,800 --> 00:31:18,200
Speaker 1: but we do with Arnold, and we don't get to

587
00:31:18,240 --> 00:31:20,720
Speaker 1: see his butt like we do with Arnold, and that

588
00:31:20,760 --> 00:31:22,800
Speaker 1: overshadows him entirely.

589
00:31:22,880 --> 00:31:25,280
Speaker 2: But it's also like not I mean, it's kind of

590
00:31:25,320 --> 00:31:28,960
Speaker 2: not his fault because it's almost like he's the good guy.

591
00:31:29,160 --> 00:31:33,400
Speaker 2: He's the one that is, you know, essentially like he

592
00:31:33,480 --> 00:31:37,280
Speaker 2: needs to impregnate Sarah Connor to you know, continue the

593
00:31:37,320 --> 00:31:40,680
Speaker 2: fucking human race. But it's almost like that task is

594
00:31:40,720 --> 00:31:44,760
Speaker 2: super boring. Yeah, when it comes back to, oh, well,

595
00:31:44,800 --> 00:31:46,880
Speaker 2: we have this other character that it's supposed to kill

596
00:31:46,960 --> 00:31:51,120
Speaker 2: that guy and kill that woman, and so why why

597
00:31:51,120 --> 00:31:54,240
Speaker 2: do we even care about his mission totally, So he

598
00:31:54,320 --> 00:31:55,600
Speaker 2: was kind of set up to fail in that way.

599
00:31:55,600 --> 00:31:57,320
Speaker 2: And I feel bad that I don't remember him.

600
00:31:57,480 --> 00:32:02,320
Speaker 1: But like Arnold is so just visually seeing him on

601
00:32:02,640 --> 00:32:08,760
Speaker 1: screen next to other regular humans, He's so imposing and

602
00:32:08,840 --> 00:32:12,560
Speaker 1: so like beautiful as just sort of like this like

603
00:32:13,160 --> 00:32:17,000
Speaker 1: statue the sculpture of a human being that it's just

604
00:32:17,120 --> 00:32:19,280
Speaker 1: you can't take your eyes off him. He really just

605
00:32:19,400 --> 00:32:24,240
Speaker 1: look he looks incredible on the screen. Just walking down

606
00:32:24,240 --> 00:32:27,720
Speaker 1: a hallway, you're totally captivated by his presence. And so

607
00:32:28,120 --> 00:32:30,880
Speaker 1: when just like looking at him, when you're like your

608
00:32:30,920 --> 00:32:34,479
Speaker 1: eyes are feasting upon him in the movie, and then

609
00:32:34,520 --> 00:32:37,280
Speaker 1: it cuts to a scene with Kyle Reese, you're kind

610
00:32:37,280 --> 00:32:41,160
Speaker 1: of like, oh him deflated. I mean, it's like like

611
00:32:41,320 --> 00:32:43,920
Speaker 1: just from a visual excitement, you know what I mean.

612
00:32:44,160 --> 00:32:48,000
Speaker 2: Yeah, of course, And I'll say this on Mike. Arnold

613
00:32:48,080 --> 00:32:52,200
Speaker 2: Schwarzenegger is probably the only Republican that I really love.

614
00:32:52,440 --> 00:32:55,560
Speaker 1: Of Course, he's like a fake Republican too, I know.

615
00:32:55,680 --> 00:32:59,080
Speaker 2: I mean, he doesn't want to be an economic girly man.

616
00:32:59,200 --> 00:33:03,360
Speaker 2: I get it. But he's also not like indoctrinated into

617
00:33:03,400 --> 00:33:08,680
Speaker 2: the whole like craziness of the modern Republican Party bullshit, right, yes,

618
00:33:08,880 --> 00:33:11,479
Speaker 2: and that's a slippery slope. I understand it, of course.

619
00:33:11,560 --> 00:33:14,280
Speaker 2: But I was introduced to him, you know, he was

620
00:33:14,520 --> 00:33:17,640
Speaker 2: commando and things of that nature. It was weird for me,

621
00:33:17,680 --> 00:33:19,880
Speaker 2: I think when I realized that he was like the

622
00:33:19,920 --> 00:33:22,960
Speaker 2: governor of California and he was just like a Republican guy,

623
00:33:23,040 --> 00:33:27,040
Speaker 2: like making you know, conservative politics happen. But I agree,

624
00:33:27,040 --> 00:33:30,520
Speaker 2: I don't think he's like a terrible one. But still

625
00:33:30,560 --> 00:33:32,960
Speaker 2: I still really fond of him. And so when yeah,

626
00:33:33,000 --> 00:33:35,520
Speaker 2: he's a bad guy and Terminator and he's scary as shit,

627
00:33:35,600 --> 00:33:40,040
Speaker 2: but he's also like to be admired gorgeous, like you know,

628
00:33:41,080 --> 00:33:44,520
Speaker 2: Greek statue guy. And so when the second one came around,

629
00:33:44,920 --> 00:33:48,200
Speaker 2: he'd refined his look. I mean he honestly looked fucking

630
00:33:48,280 --> 00:33:51,680
Speaker 2: amazing and Terminator two, yes, with the leather jacket and

631
00:33:51,720 --> 00:33:54,840
Speaker 2: the wrap around sunglasses, and he's like pumping those like

632
00:33:55,000 --> 00:33:57,840
Speaker 2: double barrel shotguns and shit, I'm like, this is so

633
00:33:58,680 --> 00:34:03,120
Speaker 2: erotic almost. But he his whole character in the movie,

634
00:34:03,640 --> 00:34:07,160
Speaker 2: in the second movie was that he was like a dad.

635
00:34:07,440 --> 00:34:10,239
Speaker 2: He was like a dad, yeah, And I responded to

636
00:34:10,280 --> 00:34:14,399
Speaker 2: that so much that I was like watching the first

637
00:34:14,480 --> 00:34:17,960
Speaker 2: termater going. I don't accept him as a bad guy.

638
00:34:18,000 --> 00:34:20,719
Speaker 2: I love him as like a robot dad and a

639
00:34:20,719 --> 00:34:21,520
Speaker 2: hot one at that.

640
00:34:21,800 --> 00:34:26,360
Speaker 1: So, yes, you know that's interesting. Yeah, I will say

641
00:34:27,040 --> 00:34:30,600
Speaker 1: it's hard to go back. Yeah, after you've seen T two,

642
00:34:31,200 --> 00:34:35,040
Speaker 1: it's hard to go back to the Terminator. In the

643
00:34:35,080 --> 00:34:38,880
Speaker 1: same way, I'm sure it's kind of like when you know,

644
00:34:39,080 --> 00:34:43,439
Speaker 1: you go like after like a band's breakthrough album that's

645
00:34:43,480 --> 00:34:46,720
Speaker 1: like a masterpiece, it's kind of hard to go back

646
00:34:47,360 --> 00:34:50,840
Speaker 1: to their older stuff where they haven't quite figured it out.

647
00:34:51,120 --> 00:34:53,840
Speaker 1: I still love to listen to like Prince's Dirty Mind

648
00:34:54,160 --> 00:34:57,760
Speaker 1: and stuff, but like after you've listened to Purple Rain,

649
00:34:58,440 --> 00:35:01,360
Speaker 1: it's kind of like, this is such a cuter version.

650
00:35:01,440 --> 00:35:05,040
Speaker 1: It's not a yeah, everything before that is cute compared

651
00:35:05,080 --> 00:35:07,200
Speaker 1: to what what he eventually? Did? You know what I mean?

652
00:35:07,239 --> 00:35:09,160
Speaker 2: Oh yeah, No, I think a cop for me would

653
00:35:09,160 --> 00:35:11,839
Speaker 2: be like the Beatles or something. Yeah, not that we

654
00:35:11,920 --> 00:35:16,200
Speaker 2: need any more Beatles fan discourse at all in culture, sure,

655
00:35:16,360 --> 00:35:21,000
Speaker 2: but I'm gonna say obviously my Beatles era are like

656
00:35:21,360 --> 00:35:24,719
Speaker 2: Rubber Sol Revolver. Yeah, to the degree which now if

657
00:35:24,760 --> 00:35:27,479
Speaker 2: I hear fucking like love Me Do and all that shit,

658
00:35:27,600 --> 00:35:32,840
Speaker 2: it sounds so corny totally and such like weird oldies

659
00:35:32,960 --> 00:35:35,919
Speaker 2: radio station Boober nostalgia shit that I'm just like, yeah,

660
00:35:36,000 --> 00:35:38,480
Speaker 2: I can't even listen to like old Beatles like I

661
00:35:38,520 --> 00:35:39,399
Speaker 2: want to hold your hand.

662
00:35:39,440 --> 00:35:41,440
Speaker 1: I hate that shit. It's like you kind of like

663
00:35:41,520 --> 00:35:45,080
Speaker 1: cross an artistic threshold where it like makes everything before

664
00:35:45,120 --> 00:35:46,640
Speaker 1: it moved kind of like you know, I don't know

665
00:35:46,640 --> 00:35:49,200
Speaker 1: if you're a Radiohead fan, but like after you listen

666
00:35:49,280 --> 00:35:52,120
Speaker 1: to like Okay, Computer and kid A, it's really hard

667
00:35:52,120 --> 00:35:54,520
Speaker 1: to listen to the Bends. I feel like, or it's

668
00:35:54,560 --> 00:35:56,960
Speaker 1: like there's good songs on there, but it's like I

669
00:35:57,000 --> 00:36:00,000
Speaker 1: felt like they just yeah, pass sort of a threshold,

670
00:36:00,360 --> 00:36:02,560
Speaker 1: you know, where it's hard to go backwards. I hear you.

671
00:36:02,600 --> 00:36:05,799
Speaker 2: I might disagree slightly because I absolutely love the Bends Okay,

672
00:36:05,920 --> 00:36:08,680
Speaker 2: and I actually love Pablo Honey too. I don't know,

673
00:36:08,920 --> 00:36:12,840
Speaker 2: but I do I do agree that, like normally, time

674
00:36:13,280 --> 00:36:16,280
Speaker 2: creates this sort of I don't know, like artistic difference

675
00:36:16,320 --> 00:36:19,719
Speaker 2: between like early work and later work. Sometimes that makes

676
00:36:19,920 --> 00:36:23,359
Speaker 2: early work seem very distracting. Yeah, when you've realized, oh,

677
00:36:23,440 --> 00:36:25,400
Speaker 2: the newer stuff is a little bit more complex, a

678
00:36:25,440 --> 00:36:28,600
Speaker 2: little bit more my speed. So yeah, yeah, that's how

679
00:36:28,640 --> 00:36:31,280
Speaker 2: I felt about watching The First Terminator again, even though

680
00:36:31,560 --> 00:36:34,480
Speaker 2: the minute I started playing it it made me super

681
00:36:35,239 --> 00:36:37,080
Speaker 2: nostalgic for LA.

682
00:36:37,120 --> 00:36:37,640
Speaker 1: Interesting.

683
00:36:37,920 --> 00:36:43,800
Speaker 2: Yeah, and I've been gone from LA for like a

684
00:36:43,840 --> 00:36:44,440
Speaker 2: couple of years.

685
00:36:44,480 --> 00:36:47,840
Speaker 1: Now, how long did you live there? Five years? Okay,

686
00:36:47,960 --> 00:36:49,800
Speaker 1: which is not very long. That's a chunk.

687
00:36:49,880 --> 00:36:53,279
Speaker 2: That's a chunk. And I speaking of Republicans, I was

688
00:36:53,320 --> 00:36:56,600
Speaker 2: actually there during the entire first Trump administration, So I

689
00:36:56,600 --> 00:36:59,360
Speaker 2: felt like I was. I really loved being there for that.

690
00:37:00,280 --> 00:37:03,200
Speaker 2: To me, I had visited LA so much for work

691
00:37:03,520 --> 00:37:06,600
Speaker 2: prior to moving there that I kind of if I

692
00:37:06,640 --> 00:37:09,839
Speaker 2: actually kind of remember when it was that I moved.

693
00:37:09,880 --> 00:37:11,319
Speaker 2: I was like, oh, I felt like I had moved

694
00:37:11,320 --> 00:37:12,479
Speaker 2: there a lot earlier than.

695
00:37:12,360 --> 00:37:13,120
Speaker 1: I actually did.

696
00:37:13,600 --> 00:37:15,840
Speaker 2: I see, because I was there a lot. But anyway,

697
00:37:16,280 --> 00:37:18,680
Speaker 2: I don't know how you feel because you've been back,

698
00:37:18,920 --> 00:37:22,279
Speaker 2: you've left. You left LA like way later than I did.

699
00:37:22,600 --> 00:37:25,879
Speaker 1: Yeah, I moved to Minneapolis a year and a half ago.

700
00:37:26,040 --> 00:37:30,480
Speaker 1: Oh wow, And I lived in LA for seventeen years. Wow.

701
00:37:30,760 --> 00:37:35,160
Speaker 1: So I love Los Angeles. I spent a lot of

702
00:37:35,280 --> 00:37:38,680
Speaker 1: like my later teen years and all of my twenties

703
00:37:38,719 --> 00:37:42,120
Speaker 1: and a good chunk most of my thirties there, So

704
00:37:42,280 --> 00:37:46,640
Speaker 1: like I did a lot of growing up in that city,

705
00:37:46,680 --> 00:37:49,600
Speaker 1: and I still feel very connected to it. I don't

706
00:37:49,640 --> 00:37:51,640
Speaker 1: miss it really because I feel like it's a part

707
00:37:51,680 --> 00:37:53,279
Speaker 1: of me, if that makes sense. It makes sense. I

708
00:37:53,320 --> 00:37:56,359
Speaker 1: go back with some frequency. There are things I miss

709
00:37:56,360 --> 00:37:59,480
Speaker 1: about it, but like, yeah, I don't feel that pole

710
00:38:00,280 --> 00:38:02,879
Speaker 1: as much, just because I was there for so long,

711
00:38:02,920 --> 00:38:05,200
Speaker 1: and I sort of feel like LA is so weird.

712
00:38:05,239 --> 00:38:07,640
Speaker 1: I was talking about this with Tricia, my wife. It's

713
00:38:07,680 --> 00:38:12,279
Speaker 1: like all these little cities crammed together, and you'll live

714
00:38:12,320 --> 00:38:14,640
Speaker 1: in one area of Los Angeles and not go to

715
00:38:14,719 --> 00:38:19,080
Speaker 1: a certain area for years, and so for me, it

716
00:38:19,160 --> 00:38:20,799
Speaker 1: sort of feels like, right now, I move to a

717
00:38:20,840 --> 00:38:23,960
Speaker 1: different neighborhood in Los Angeles and I just haven't visited

718
00:38:23,960 --> 00:38:27,560
Speaker 1: those other neighborhoods, even though I'm in Minneapolis right now.

719
00:38:27,680 --> 00:38:31,000
Speaker 1: Right So, but I have a deep fondness for LA.

720
00:38:31,600 --> 00:38:33,600
Speaker 1: I feel like I have to defend it weirdly because

721
00:38:33,600 --> 00:38:36,719
Speaker 1: everybody likes to shit on Los Angeles. But it is

722
00:38:36,800 --> 00:38:40,799
Speaker 1: fun watching old eighties at LA and just seeing what

723
00:38:41,640 --> 00:38:42,839
Speaker 1: that world is like.

724
00:38:43,239 --> 00:38:46,839
Speaker 2: Part of my and like this isn't anything new. I mean,

725
00:38:47,239 --> 00:38:53,880
Speaker 2: there's this fantastic documentary called Los Angeles Plays itself. Yes,

726
00:38:54,440 --> 00:38:58,040
Speaker 2: which if you haven't seen it, good luck, because I

727
00:38:58,040 --> 00:38:58,680
Speaker 2: don't know where it is.

728
00:38:58,719 --> 00:39:02,760
Speaker 1: No, I don't think it's streaming somewhat. Is that really, Yeah,

729
00:39:02,800 --> 00:39:05,719
Speaker 1: because there's a lot of rights issues with that movie, right.

730
00:39:05,680 --> 00:39:08,520
Speaker 2: Because it's basically like a video essay. It was made

731
00:39:08,520 --> 00:39:11,600
Speaker 2: by a man, Tom Anderson, who's like a you know,

732
00:39:11,640 --> 00:39:14,640
Speaker 2: he's like a professor, he's like a video essayist, he's

733
00:39:14,680 --> 00:39:17,839
Speaker 2: a documentarian. And it came out in two thousand and three.

734
00:39:18,320 --> 00:39:21,239
Speaker 2: But it oh, it's on canopy. I think it's on Canopy.

735
00:39:21,360 --> 00:39:24,520
Speaker 2: There you go, so get it through your library. But

736
00:39:25,120 --> 00:39:27,840
Speaker 2: you know, the reason why I think it's it's probably

737
00:39:28,560 --> 00:39:30,719
Speaker 2: legally kind of in a gray area is because it

738
00:39:30,800 --> 00:39:33,239
Speaker 2: uses a lot of clips from other movies that sort

739
00:39:33,280 --> 00:39:37,719
Speaker 2: of shape this argument about how like movies have informed

740
00:39:37,800 --> 00:39:40,880
Speaker 2: our view of Los Angeles as the town. Right, Yeah,

741
00:39:40,880 --> 00:39:43,239
Speaker 2: And it's great, Like I watched it before I lived there,

742
00:39:43,280 --> 00:39:45,799
Speaker 2: and then I rewatched it when I moved, and I

743
00:39:45,920 --> 00:39:49,200
Speaker 2: just had like such a much deeper understanding of the

744
00:39:49,239 --> 00:39:53,960
Speaker 2: way that movie culture has informed my view of the

745
00:39:54,280 --> 00:39:56,520
Speaker 2: town that I was living in. There seems to be

746
00:39:56,800 --> 00:40:00,239
Speaker 2: like this entire chunk of eighties films that I I

747
00:40:00,320 --> 00:40:05,320
Speaker 2: love that all sort of take place in LA roughly

748
00:40:05,800 --> 00:40:08,680
Speaker 2: the same kind of neighborhoods. Is sort of like I'm

749
00:40:08,719 --> 00:40:11,640
Speaker 2: thinking of stuff like Miracle Mile, which I know takes

750
00:40:11,640 --> 00:40:14,200
Speaker 2: place in the Miracle Mile neighborhood.

751
00:40:13,680 --> 00:40:17,680
Speaker 1: But that's like Hollywood kind of like it's near Hollywood. Yeah.

752
00:40:17,719 --> 00:40:19,919
Speaker 2: But then you have like things that are taking place

753
00:40:19,960 --> 00:40:23,560
Speaker 2: in like clearly downtown Los Angeles, which to me is

754
00:40:23,600 --> 00:40:29,440
Speaker 2: a great place for a post apocalyptic vibe, holy apocalyptic vibe.

755
00:40:29,480 --> 00:40:32,360
Speaker 1: The downtown area feels nothing like the rest of the city,

756
00:40:32,400 --> 00:40:35,799
Speaker 1: and it does feel kind of post apocalyptic. I mean

757
00:40:35,880 --> 00:40:38,400
Speaker 1: down there it is Oh it's a scene, man.

758
00:40:38,320 --> 00:40:41,000
Speaker 2: It's a scene. But then there are you know, of course,

759
00:40:41,040 --> 00:40:44,480
Speaker 2: other sort of general not like more eighties comedies and

760
00:40:44,560 --> 00:40:47,160
Speaker 2: romances that take place in the valley. So there's whole,

761
00:40:47,200 --> 00:40:50,560
Speaker 2: this whole other tradition of you know, eighties LA movies.

762
00:40:50,560 --> 00:40:54,520
Speaker 2: But I think specifically because I rewatched Terminator, I was like, oh, like,

763
00:40:54,600 --> 00:40:57,799
Speaker 2: what are some other movies that are kind of in

764
00:40:57,840 --> 00:41:01,600
Speaker 2: that vein that are filmed in Los Angeles and like

765
00:41:01,680 --> 00:41:03,920
Speaker 2: kind of the same part of town, right.

766
00:41:04,200 --> 00:41:07,279
Speaker 1: Yeah, yeah, yeah, yeah, I you know, I think we

767
00:41:07,400 --> 00:41:09,960
Speaker 1: had discussed this before, but there's like Night of the

768
00:41:10,040 --> 00:41:14,240
Speaker 1: Comet is a really fun kind of like post nuclear

769
00:41:14,600 --> 00:41:17,719
Speaker 1: teen zombie movie that a lot of it shot in

770
00:41:17,760 --> 00:41:20,960
Speaker 1: the Beverly Center in LA and there's a lot of

771
00:41:20,960 --> 00:41:24,440
Speaker 1: shots in downtown as well. But that's like, that's a

772
00:41:24,440 --> 00:41:27,680
Speaker 1: really fun movie that's near this time too. And then

773
00:41:27,760 --> 00:41:30,719
Speaker 1: another movie came to mind for me, which isn't post apocalyptic,

774
00:41:30,760 --> 00:41:36,120
Speaker 1: but Predator two is a very like wild LA movie.

775
00:41:36,160 --> 00:41:38,239
Speaker 1: I think it's the eighties when that came out, but

776
00:41:38,280 --> 00:41:41,759
Speaker 1: that's like a really a really crazy representation of La

777
00:41:41,880 --> 00:41:43,920
Speaker 1: as like this wasteland.

778
00:41:44,320 --> 00:41:46,920
Speaker 2: One of my favorite movies ever is To Live and

779
00:41:46,960 --> 00:41:51,120
Speaker 2: Die in La by William Freakin. Yeah, which also is

780
00:41:51,200 --> 00:41:55,600
Speaker 2: shot in the Emptied Basin. Yes, a lot of downtown stuff,

781
00:41:55,960 --> 00:41:58,560
Speaker 2: a lot of like warehouses, you know, it's like that

782
00:41:58,760 --> 00:42:03,960
Speaker 2: feeling of like people who are committing crimes and housing

783
00:42:04,040 --> 00:42:10,160
Speaker 2: their you know, counterfeit money in warehouses. A lot of dumpsters,

784
00:42:10,719 --> 00:42:13,319
Speaker 2: a lot of trash on the street, a lot of

785
00:42:13,480 --> 00:42:16,560
Speaker 2: you know, sort of like grimy sort of thriller noir

786
00:42:16,680 --> 00:42:20,840
Speaker 2: elements with like the lapd and you know, like weird

787
00:42:20,960 --> 00:42:23,560
Speaker 2: bars and weird apartments like that kind of stuff. Like

788
00:42:23,719 --> 00:42:26,840
Speaker 2: I love. Yeah, it's just such a vibe, and I

789
00:42:26,840 --> 00:42:30,400
Speaker 2: feel like it's this very specific vibe that you know

790
00:42:30,600 --> 00:42:33,240
Speaker 2: is sort of like yeah, time in place for sure.

791
00:42:33,640 --> 00:42:37,319
Speaker 2: But then it also I think is what makes me

792
00:42:37,600 --> 00:42:39,839
Speaker 2: like the movie more. Like I kept thinking, Okay, if

793
00:42:39,960 --> 00:42:46,560
Speaker 2: like Terminator was shot in Minneapolis, sure would I like

794
00:42:46,680 --> 00:42:51,959
Speaker 2: it as much if like if Terminator Too was shot

795
00:42:52,000 --> 00:42:56,160
Speaker 2: in Minneapolis or Atlanta, where I'm at right now. I mean,

796
00:42:56,560 --> 00:43:00,359
Speaker 2: I don't think i'd like Terminator Too without you know,

797
00:43:00,560 --> 00:43:04,080
Speaker 2: just like the La elements, the river basin, the desert stuff.

798
00:43:04,160 --> 00:43:07,239
Speaker 2: I mean, the desert stuff is like obviously like they

799
00:43:07,280 --> 00:43:11,840
Speaker 2: move to go get their guns, you know, over the

800
00:43:11,000 --> 00:43:15,520
Speaker 2: the war, the upcoming robots versus humans war. I mean

801
00:43:16,080 --> 00:43:20,359
Speaker 2: that feels very California. That is an LA adjacent thing

802
00:43:20,400 --> 00:43:21,160
Speaker 2: that has to happen.

803
00:43:21,200 --> 00:43:24,120
Speaker 1: Well, I think the Terminator has to exist in Los

804
00:43:24,160 --> 00:43:26,600
Speaker 1: Angeles because you know it is LA is kind of

805
00:43:26,600 --> 00:43:28,480
Speaker 1: like on the edge of the desert, so it feels

806
00:43:28,480 --> 00:43:32,960
Speaker 1: like it's sort of creeping towards the like apocalyptic wasteland

807
00:43:33,320 --> 00:43:35,960
Speaker 1: a little bit, like sort of gradually. And then also

808
00:43:36,000 --> 00:43:39,239
Speaker 1: there's just like with LA, there's a lot of like

809
00:43:39,600 --> 00:43:41,560
Speaker 1: and I like this about the city. There's sort of

810
00:43:41,640 --> 00:43:46,440
Speaker 1: like a lot of nothing space. Within the city itself,

811
00:43:46,480 --> 00:43:48,759
Speaker 1: there's like a lot of cement. There's like a lot

812
00:43:48,800 --> 00:43:53,720
Speaker 1: of like pockets of like weirdness that it doesn't feel

813
00:43:53,760 --> 00:43:57,080
Speaker 1: like a cohesive city, but it is urban at the

814
00:43:57,120 --> 00:44:00,239
Speaker 1: same time. You know, it's like almost got like all

815
00:44:00,280 --> 00:44:03,520
Speaker 1: town elements within the city itself, because it's just kind

816
00:44:03,520 --> 00:44:06,960
Speaker 1: of like these neighborhoods that are sort of ban dated

817
00:44:07,280 --> 00:44:10,800
Speaker 1: together and it covers like a huge, a vast amount

818
00:44:10,840 --> 00:44:13,560
Speaker 1: of space. So there's like a lot of movement, like

819
00:44:13,600 --> 00:44:16,319
Speaker 1: the terminator and terminator too. It's like there's a lot

820
00:44:16,360 --> 00:44:22,200
Speaker 1: of movement across the city, across spaces, and that type

821
00:44:22,200 --> 00:44:26,000
Speaker 1: of environment you really only find in Los Angeles, and

822
00:44:26,320 --> 00:44:29,640
Speaker 1: it reflects itself in the movie itself. You know, it's

823
00:44:29,680 --> 00:44:32,920
Speaker 1: a lot of like urban decay. But I don't know,

824
00:44:32,920 --> 00:44:36,040
Speaker 1: it's a la is a strange place. It's unlike any

825
00:44:36,080 --> 00:44:39,520
Speaker 1: other city, and so when a movie is set there,

826
00:44:39,560 --> 00:44:43,080
Speaker 1: it has to like it does have an effect on

827
00:44:43,800 --> 00:44:44,680
Speaker 1: the movie itself.

828
00:44:44,880 --> 00:44:48,680
Speaker 2: Yeah, and I think too, you know, part of living there. Finally,

829
00:44:49,120 --> 00:44:54,319
Speaker 2: after being informed by these movies about this location for

830
00:44:54,360 --> 00:44:56,440
Speaker 2: so long, I don't know if you felt this. I

831
00:44:56,560 --> 00:44:59,200
Speaker 2: you know, again, I I'm such a romantic when it

832
00:44:59,239 --> 00:45:01,839
Speaker 2: comes to Yeah, cinema, of course, tell me too.

833
00:45:02,000 --> 00:45:04,839
Speaker 1: Of course, the name of our damn podcast is called

834
00:45:04,880 --> 00:45:07,560
Speaker 1: Deer Movies. I Love you, Milly, come on exactly.

835
00:45:07,760 --> 00:45:11,160
Speaker 2: We have very amorous feelings towards this industry of ours.

836
00:45:11,200 --> 00:45:14,560
Speaker 2: But when I was living there, I could not help

837
00:45:14,640 --> 00:45:18,840
Speaker 2: but get caught up in just the feeling of being

838
00:45:19,000 --> 00:45:21,000
Speaker 2: in the movies. Like I was sitting there, like I

839
00:45:21,040 --> 00:45:23,279
Speaker 2: lived in West Hollywood, and I looked at you kind

840
00:45:23,320 --> 00:45:25,919
Speaker 2: of like the Russian part of West Hollywood, by the way,

841
00:45:26,040 --> 00:45:28,600
Speaker 2: Like there's like the fancy part that's near Beverly Hills,

842
00:45:28,600 --> 00:45:32,080
Speaker 2: and then there's my part that was closer to actual Hollywood, right.

843
00:45:32,520 --> 00:45:34,920
Speaker 2: And there would be times where I'd be like walking

844
00:45:34,960 --> 00:45:39,160
Speaker 2: the dog and I would be like, oh, this is

845
00:45:39,200 --> 00:45:42,719
Speaker 2: where like Salminio got stabbed or something, you know, or like, oh,

846
00:45:42,800 --> 00:45:45,440
Speaker 2: this is where like Eve Babbitts used to live. Like

847
00:45:45,480 --> 00:45:47,959
Speaker 2: it's just like you're literally just out walking the dog

848
00:45:48,080 --> 00:45:50,440
Speaker 2: picking up poop, and you're just like, oh, there's just

849
00:45:51,120 --> 00:45:53,560
Speaker 2: history happening all around you, and it's all about this

850
00:45:53,680 --> 00:45:57,320
Speaker 2: like thing that I really love, and it's just wild.

851
00:45:57,360 --> 00:45:59,239
Speaker 2: It's such a wild feeling and then you would drive

852
00:45:59,360 --> 00:46:02,319
Speaker 2: like what I would drive down Fairfax, you know, and

853
00:46:02,360 --> 00:46:06,160
Speaker 2: you would see like the coffee shop that's in Miracle Mile. Yeah,

854
00:46:06,360 --> 00:46:09,680
Speaker 2: Johnny's right, and you're just like, holy fucking shit, I'm

855
00:46:09,719 --> 00:46:13,000
Speaker 2: just going to the gym and there's Johnny's right there

856
00:46:13,200 --> 00:46:16,240
Speaker 2: where you know, half of the movie Miracle Mile was shot.

857
00:46:16,280 --> 00:46:17,919
Speaker 2: This is my one of my favorite movies of all time.

858
00:46:18,120 --> 00:46:20,080
Speaker 1: Yeah, no, I think that's really interesting. And something I

859
00:46:20,480 --> 00:46:22,160
Speaker 1: you know, something that has been a little bit of

860
00:46:22,160 --> 00:46:25,759
Speaker 1: a relief since moving from there is kind of like,

861
00:46:26,200 --> 00:46:27,920
Speaker 1: when you're in Los Angeles, you do feel like you're

862
00:46:27,960 --> 00:46:29,759
Speaker 1: in the movies, and in a way, it feels like

863
00:46:29,800 --> 00:46:32,479
Speaker 1: there's a camera lens on you in a weird way.

864
00:46:32,560 --> 00:46:36,400
Speaker 1: It feels like you're the center of something in a

865
00:46:36,440 --> 00:46:39,600
Speaker 1: way that you can't escape. And so when I moved

866
00:46:39,840 --> 00:46:42,000
Speaker 1: back to Minneapolis, it sort of felt like I felt

867
00:46:42,000 --> 00:46:44,120
Speaker 1: sort of a relief to be out of the center

868
00:46:44,400 --> 00:46:47,640
Speaker 1: of everyone's eyeballs in a way. And I know that's

869
00:46:47,640 --> 00:46:51,319
Speaker 1: sort of a philosophical existential idea, but there's kind of

870
00:46:51,320 --> 00:46:54,920
Speaker 1: an oppressiveness to that too when you're there.

871
00:46:55,280 --> 00:46:59,600
Speaker 2: Sure you know, yes, yes, well listen, thanks for chatting

872
00:46:59,640 --> 00:47:02,759
Speaker 2: with me. This yes, because I just was wanting to

873
00:47:02,800 --> 00:47:06,480
Speaker 2: discuss it with someone who also used to live in LA, which, yeah,

874
00:47:06,520 --> 00:47:08,399
Speaker 2: you know, I mean I think that's really important when

875
00:47:08,400 --> 00:47:10,719
Speaker 2: you're wanting to, like, you know, really parse out these

876
00:47:10,760 --> 00:47:14,400
Speaker 2: feelings about watching the original Terminator and you know, basically

877
00:47:14,440 --> 00:47:18,160
Speaker 2: like driving cars through shopping centers in downtown LA or

878
00:47:18,200 --> 00:47:19,759
Speaker 2: like who can I talk to you about that? Oh

879
00:47:19,800 --> 00:47:22,359
Speaker 2: my friend who lived there three times as long as

880
00:47:22,400 --> 00:47:23,000
Speaker 2: I did, So.

881
00:47:23,160 --> 00:47:26,919
Speaker 1: Absolutely I have a few other just Terminator notes real quick,

882
00:47:26,960 --> 00:47:30,840
Speaker 1: Oh let's go. So watching it this time, I couldn't

883
00:47:30,880 --> 00:47:34,440
Speaker 1: help but think it was sort of funny that Reese

884
00:47:34,480 --> 00:47:38,040
Speaker 1: went back in time to fuck his best friend's mom, right,

885
00:47:39,280 --> 00:47:42,280
Speaker 1: And did John Connor know that that was his father?

886
00:47:43,160 --> 00:47:45,200
Speaker 1: That part of the movie I kind of was like

887
00:47:45,680 --> 00:47:48,120
Speaker 1: I forgot about. Yeah, it was sort of like, oh,

888
00:47:48,200 --> 00:47:52,160
Speaker 1: that's right, and he's a virgin. That was made clear too,

889
00:47:52,360 --> 00:47:53,960
Speaker 1: And I don't know, it was just like there was

890
00:47:54,040 --> 00:47:57,000
Speaker 1: that was sort of an odd thing, gotta.

891
00:47:56,760 --> 00:48:00,960
Speaker 2: Be honest, a little slap together. Yes, And I understand

892
00:48:01,200 --> 00:48:03,000
Speaker 2: you just had a lot of story about the other

893
00:48:03,080 --> 00:48:06,160
Speaker 2: thing happening again. It's like justice for Kyle, I suppose,

894
00:48:06,239 --> 00:48:09,239
Speaker 2: but it's like that feeling of like, okay, like they

895
00:48:09,239 --> 00:48:11,319
Speaker 2: could have maybe give us a little bit more thought.

896
00:48:11,400 --> 00:48:13,720
Speaker 1: Did you have you noticed this. I'm not the first

897
00:48:13,719 --> 00:48:17,240
Speaker 1: person to make this observation, but James Cameron's movies always

898
00:48:17,400 --> 00:48:21,040
Speaker 1: end either in the water or in a factory.

899
00:48:21,480 --> 00:48:24,800
Speaker 2: Wow. That's interesting. Yeah huh.

900
00:48:24,840 --> 00:48:29,240
Speaker 1: I don't know if that's true across every single movie,

901
00:48:29,400 --> 00:48:33,560
Speaker 1: but a lot of them do, including the last Avatar

902
00:48:33,680 --> 00:48:36,920
Speaker 1: film kind of ends in a factory or kind of

903
00:48:36,920 --> 00:48:41,200
Speaker 1: a factory setting, I should say, yeah, industrial factory type place.

904
00:48:41,520 --> 00:48:45,600
Speaker 2: I mean, listen, I remember seeing the first Avatar in

905
00:48:45,800 --> 00:48:47,640
Speaker 2: IMAX when it came out.

906
00:48:47,719 --> 00:48:48,680
Speaker 1: Uh huh, I.

907
00:48:48,680 --> 00:48:53,160
Speaker 2: Remember nothing about it. I remember there are blue people.

908
00:48:53,280 --> 00:48:55,480
Speaker 2: I remember there were people like maybe like leaping from

909
00:48:55,560 --> 00:48:58,879
Speaker 2: tree to tree with some kind of satchel across their body. Sure,

910
00:48:58,920 --> 00:49:02,240
Speaker 2: but I don't remember anything about Avatar.

911
00:49:02,440 --> 00:49:04,279
Speaker 1: I mean, we can keep this very brief. But what

912
00:49:04,600 --> 00:49:07,960
Speaker 1: do you feel about James Cameron in general? Are you

913
00:49:08,040 --> 00:49:09,840
Speaker 1: a fan? I mean, I mean T two is in

914
00:49:10,160 --> 00:49:11,959
Speaker 1: it sounds like one of your favorite movies of all time,

915
00:49:12,040 --> 00:49:15,160
Speaker 1: but top five? How do you feel about him as

916
00:49:15,160 --> 00:49:17,040
Speaker 1: a filmmaker beyond T two?

917
00:49:17,360 --> 00:49:21,799
Speaker 2: I mean, well, now having seen Titanic, because remember I

918
00:49:21,840 --> 00:49:25,799
Speaker 2: was a huge Titanic holdout huge. Yeah, I always saw

919
00:49:25,880 --> 00:49:28,439
Speaker 2: Titanic in the past year for the very first time. Yes,

920
00:49:28,640 --> 00:49:32,360
Speaker 2: I sort of appreciate him a tiny bit more, but generally,

921
00:49:32,760 --> 00:49:35,520
Speaker 2: like it's that kind of thing where I think, maybe

922
00:49:35,560 --> 00:49:37,439
Speaker 2: I do think the opposite of what we just talked about,

923
00:49:37,440 --> 00:49:39,880
Speaker 2: which is that I like the earlier James Cameron stuff,

924
00:49:40,120 --> 00:49:42,359
Speaker 2: more early period stuff, but then the later stuff. I'm

925
00:49:42,400 --> 00:49:45,200
Speaker 2: kind of like, huh, like the whole Avatar thing honestly

926
00:49:45,800 --> 00:49:48,240
Speaker 2: missed me. With all of that, I am not a fan.

927
00:49:48,800 --> 00:49:51,680
Speaker 2: I don't really feel good about the mythology really like,

928
00:49:51,719 --> 00:49:53,400
Speaker 2: I mean, it's fine, the mythology is fine. I just

929
00:49:53,440 --> 00:49:57,160
Speaker 2: don't I'm not interested. I suppose sure, but I mean

930
00:49:57,280 --> 00:50:02,279
Speaker 2: the Abyss Terminators, I'll even maybe even throw Titanic in there.

931
00:50:02,880 --> 00:50:06,279
Speaker 1: I'm good with, okay, but you know, like aliens.

932
00:50:06,040 --> 00:50:09,040
Speaker 2: Yes, true lies. I don't know. He's sort of like

933
00:50:09,600 --> 00:50:12,880
Speaker 2: I guess he kind of feel doesn't feel like super

934
00:50:13,600 --> 00:50:15,919
Speaker 2: exciting to me as a director, even though he makes

935
00:50:16,000 --> 00:50:18,080
Speaker 2: huge movies. But like, yeah, even though I do think

936
00:50:18,080 --> 00:50:21,439
Speaker 2: it's really interesting that he's like this oceanographery guy. Now,

937
00:50:21,480 --> 00:50:25,080
Speaker 2: like he's like the number one guy we go to

938
00:50:25,080 --> 00:50:28,080
Speaker 2: to find things that have gone missing in the ocean.

939
00:50:28,680 --> 00:50:33,640
Speaker 1: Yeah, I find him interesting as an artist and a person.

940
00:50:33,920 --> 00:50:37,240
Speaker 1: I like his approach to movies because like it seems

941
00:50:37,320 --> 00:50:42,480
Speaker 1: like he really follows his passions and is passionate about film,

942
00:50:42,560 --> 00:50:45,279
Speaker 1: and some of his passions are sort of odd, like

943
00:50:45,360 --> 00:50:50,160
Speaker 1: are not odd, but just not maybe necessarily commercial or mainstream.

944
00:50:50,360 --> 00:50:53,200
Speaker 1: Like the latest Avatar movie there's like I feel like

945
00:50:53,239 --> 00:50:55,240
Speaker 1: there's like a forty five minute sequence in the middle

946
00:50:55,239 --> 00:50:57,160
Speaker 1: where they're just swimming in the water and there's like

947
00:50:57,200 --> 00:51:00,200
Speaker 1: no dialogue and it doesn't really move the plot for

948
00:51:00,920 --> 00:51:03,840
Speaker 1: you know. It's like I appreciate that about him because

949
00:51:03,920 --> 00:51:06,399
Speaker 1: in a normal blockbuster they would have just cut that out.

950
00:51:06,719 --> 00:51:09,719
Speaker 1: But it's like he's passionate about these I keep saying

951
00:51:09,719 --> 00:51:11,920
Speaker 1: the word passion, but I do like that he is

952
00:51:11,960 --> 00:51:17,840
Speaker 1: a passionate filmmaker and cares deeply and obsessively about his films,

953
00:51:18,160 --> 00:51:21,560
Speaker 1: and they just happen to be like generally mainstream ideas.

954
00:51:21,560 --> 00:51:25,360
Speaker 1: But sure, it's almost like his approach is non mainstream,

955
00:51:25,360 --> 00:51:26,280
Speaker 1: if that makes sense.

956
00:51:26,600 --> 00:51:27,719
Speaker 2: Yeah, makes sense to me.

957
00:51:27,960 --> 00:51:32,479
Speaker 1: Interesting, So yeah, I kind of I enjoy him. Also,

958
00:51:32,520 --> 00:51:35,560
Speaker 1: I just want to say one last thing about the Terminator.

959
00:51:35,640 --> 00:51:37,680
Speaker 1: When I was five years old. I really wanted this

960
00:51:37,840 --> 00:51:44,120
Speaker 1: terminator to toy the bioflesh regenerator, which is basically you

961
00:51:44,200 --> 00:51:48,319
Speaker 1: get the toy skeleton metallic skeleton of you know, like

962
00:51:48,360 --> 00:51:50,279
Speaker 1: at the end of the terminator that's like just the

963
00:51:50,320 --> 00:51:54,400
Speaker 1: skeleton is running after Sarah Connor. You get that toy

964
00:51:54,760 --> 00:51:57,080
Speaker 1: and then you put it in this device and you

965
00:51:57,400 --> 00:52:00,920
Speaker 1: pour like goo and it hardens around it so it

966
00:52:00,960 --> 00:52:04,600
Speaker 1: looks like a naked arnold. But you can like rip

967
00:52:04,719 --> 00:52:10,560
Speaker 1: this gooey flesh off of this metal skeleton toy, and

968
00:52:10,600 --> 00:52:13,880
Speaker 1: so you can kind of reenact the terminator, I guess.

969
00:52:13,920 --> 00:52:16,520
Speaker 1: And I had that toy and it was thrilling. Wow.

970
00:52:17,000 --> 00:52:18,640
Speaker 2: What do you think it's going for now? Probably like

971
00:52:18,920 --> 00:52:20,359
Speaker 2: seven hundred dollars.

972
00:52:20,120 --> 00:52:25,680
Speaker 1: The bioflesh regenerator more I wonder. Let me see, it

973
00:52:25,719 --> 00:52:28,640
Speaker 1: looks like about one hundred bucks. That's not bad. I

974
00:52:28,640 --> 00:52:32,000
Speaker 1: don't want one. Don't buy one for me, but for me.

975
00:52:32,320 --> 00:52:33,760
Speaker 2: If you all are listening right now.

976
00:52:33,640 --> 00:52:36,759
Speaker 1: A bioflesh regenerator, shoot a message.

977
00:52:36,440 --> 00:52:39,840
Speaker 2: In our socials. I'll give you my PO box address

978
00:52:39,840 --> 00:52:42,640
Speaker 2: and we can I'll make that gift possible.

979
00:52:42,960 --> 00:52:56,480
Speaker 1: Very good. Uh well, moving on, Millie to our next section,

980
00:52:56,719 --> 00:52:58,840
Speaker 1: which I've teased a little bit and you don't know

981
00:52:58,840 --> 00:53:02,040
Speaker 1: what it is. But something we discussed when we started

982
00:53:02,040 --> 00:53:05,400
Speaker 1: this podcast was bringing up film gripes. And this is

983
00:53:05,440 --> 00:53:10,240
Speaker 1: a pretty broad genre of segment because it can be about,

984
00:53:10,640 --> 00:53:13,799
Speaker 1: you know, things that are happening in movies, sort of

985
00:53:13,920 --> 00:53:19,120
Speaker 1: like trends. Trends, yeah, trends in movies, or the theater

986
00:53:19,280 --> 00:53:23,080
Speaker 1: going experience other people in the theaters a lot of times,

987
00:53:23,200 --> 00:53:26,600
Speaker 1: so it's kind of a broad, you know, genre. But

988
00:53:27,520 --> 00:53:29,640
Speaker 1: I wanted to talk about something today and I'm curious

989
00:53:29,640 --> 00:53:33,400
Speaker 1: to hear your thoughts about it. What do you think

990
00:53:34,440 --> 00:53:39,920
Speaker 1: about assigned seating at the movie theater? Because this is

991
00:53:39,960 --> 00:53:42,879
Speaker 1: a relatively new thing, I would say, in the last

992
00:53:42,880 --> 00:53:45,880
Speaker 1: ten to fifteen years. Now, it feels like almost every

993
00:53:45,960 --> 00:53:50,880
Speaker 1: movie theater is assigned seating, sure, especially nicer, newer theaters.

994
00:53:51,760 --> 00:53:57,400
Speaker 1: But what are your thoughts about that? Okay, I do

995
00:53:57,440 --> 00:54:00,000
Speaker 1: you have any thoughts? I haven't checked this.

996
00:54:00,400 --> 00:54:04,120
Speaker 2: No, no, no, Right off the dome. I actually kind of

997
00:54:04,440 --> 00:54:09,120
Speaker 2: like it because I feel like the biggest issue that

998
00:54:09,160 --> 00:54:13,279
Speaker 2: I always had about everything being all willy nilly was

999
00:54:13,320 --> 00:54:18,680
Speaker 2: that the organization of seating was always so weird. Right, Yeah,

1000
00:54:18,719 --> 00:54:20,759
Speaker 2: So there was this whole like you know when you

1001
00:54:20,800 --> 00:54:23,800
Speaker 2: go into a movie theater and it's like half full

1002
00:54:24,200 --> 00:54:28,120
Speaker 2: or something. Obviously people were congregating towards I wouldn't know,

1003
00:54:28,200 --> 00:54:32,600
Speaker 2: the middle, slightly back or something, and it felt like

1004
00:54:32,760 --> 00:54:35,920
Speaker 2: there was no rive or reason to things a lot

1005
00:54:35,920 --> 00:54:38,200
Speaker 2: of times, and there would be like entire rows that

1006
00:54:38,239 --> 00:54:41,239
Speaker 2: would be like, you know, empty, but then there would

1007
00:54:41,239 --> 00:54:43,920
Speaker 2: be like two three people squished into this one thing,

1008
00:54:43,960 --> 00:54:45,680
Speaker 2: and then I'm like, should I sit in that row

1009
00:54:45,800 --> 00:54:46,439
Speaker 2: or should I?

1010
00:54:46,440 --> 00:54:46,799
Speaker 1: I don't know.

1011
00:54:47,080 --> 00:54:48,759
Speaker 2: To me, it feels like it takes out the like

1012
00:54:48,800 --> 00:54:52,040
Speaker 2: awkwardness of trying to figure out how to sit with strangers,

1013
00:54:52,400 --> 00:54:55,880
Speaker 2: which is that sure, and then it does sort of

1014
00:54:55,920 --> 00:55:00,800
Speaker 2: help to organize things with friends a little bit better.

1015
00:55:01,200 --> 00:55:03,480
Speaker 2: But it also like yeah, cuts down the weird like

1016
00:55:03,560 --> 00:55:06,840
Speaker 2: saving of seats and saving of rows, like you can't

1017
00:55:06,880 --> 00:55:10,080
Speaker 2: like do that because sometimes like people would like save

1018
00:55:10,200 --> 00:55:13,279
Speaker 2: seats for their friends and then like those friends didn't

1019
00:55:13,280 --> 00:55:14,719
Speaker 2: show up, and so all of a sudden, there's two

1020
00:55:14,800 --> 00:55:18,920
Speaker 2: amazing seats that go unused. So anyway, I think I

1021
00:55:19,120 --> 00:55:21,319
Speaker 2: like it because I like organization.

1022
00:55:21,920 --> 00:55:24,960
Speaker 1: I guess, yes, it's much more efficient. Here's why I

1023
00:55:25,120 --> 00:55:28,120
Speaker 1: like it because in the olden days, you'd have to

1024
00:55:28,160 --> 00:55:30,279
Speaker 1: get to the movie theater. If it was like let's

1025
00:55:30,280 --> 00:55:32,200
Speaker 1: say it's like a popular movie, you have to get

1026
00:55:32,200 --> 00:55:35,600
Speaker 1: to the movie early to get one a ticket. Yeah,

1027
00:55:35,640 --> 00:55:38,080
Speaker 1: but you also have to get there early two to

1028
00:55:38,200 --> 00:55:40,880
Speaker 1: go get a seat, right, and so you like sometimes

1029
00:55:41,000 --> 00:55:43,560
Speaker 1: you get to a movie, like a popular blockbuster movie,

1030
00:55:43,560 --> 00:55:46,120
Speaker 1: like I don't know, forty five minutes an hour before

1031
00:55:46,160 --> 00:55:48,080
Speaker 1: the movie starts, just so you could get a seat.

1032
00:55:48,600 --> 00:55:51,200
Speaker 1: Now you can buy the tickets ahead of time. A

1033
00:55:51,200 --> 00:55:53,320
Speaker 1: lot of times you don't have to waste all this time.

1034
00:55:53,600 --> 00:55:56,200
Speaker 1: You don't have to get there early twice. Essentially, you know,

1035
00:55:56,239 --> 00:55:57,520
Speaker 1: you don't have to get there early to get the

1036
00:55:57,520 --> 00:55:59,759
Speaker 1: ticket and to go get a seat. You can just

1037
00:56:00,040 --> 00:56:02,879
Speaker 1: get a ticket ahead of time and then show up

1038
00:56:03,040 --> 00:56:07,080
Speaker 1: when the movie's starting, essentially. But I have found that

1039
00:56:07,160 --> 00:56:11,719
Speaker 1: there is like a war going on between older generations

1040
00:56:11,760 --> 00:56:13,480
Speaker 1: and younger generations. And I feel like a lot of

1041
00:56:13,520 --> 00:56:18,920
Speaker 1: people my parents' age hate the assigned seating, okay, and

1042
00:56:19,239 --> 00:56:21,760
Speaker 1: I have gotten into altercations with people who are sitting

1043
00:56:21,760 --> 00:56:24,800
Speaker 1: in my seat that I bought the ticket for whoa.

1044
00:56:25,000 --> 00:56:26,759
Speaker 1: And it's not just old people. I'm not just raging

1045
00:56:26,760 --> 00:56:28,799
Speaker 1: on old people. It's other people too, where it's like,

1046
00:56:28,920 --> 00:56:31,560
Speaker 1: you're in my seat and they'll be like, no one's here,

1047
00:56:31,600 --> 00:56:34,200
Speaker 1: can't you sit somewhere else? And it's like, but I

1048
00:56:34,280 --> 00:56:37,000
Speaker 1: have the ticket for that seat. So that has happened

1049
00:56:37,040 --> 00:56:37,200
Speaker 1: to me.

1050
00:56:37,280 --> 00:56:37,480
Speaker 2: Yeah.

1051
00:56:37,520 --> 00:56:39,440
Speaker 1: But also one time Trisiaan and I were going to

1052
00:56:39,480 --> 00:56:43,319
Speaker 1: see a movie. Admittedly we got there right as the

1053
00:56:43,320 --> 00:56:45,640
Speaker 1: movie was starting, sure, which I'm against. I like to

1054
00:56:45,640 --> 00:56:46,439
Speaker 1: be there on time.

1055
00:56:46,560 --> 00:56:46,799
Speaker 2: Good.

1056
00:56:46,840 --> 00:56:50,680
Speaker 1: So the theater is dark, it's dark. I think this

1057
00:56:50,840 --> 00:56:53,279
Speaker 1: was at the Arc Light in Hollywood, and I go

1058
00:56:53,560 --> 00:56:56,880
Speaker 1: to the you know, the guy who worked there, and

1059
00:56:56,920 --> 00:56:59,240
Speaker 1: I was like, these are our tickets, and he was like, Okay,

1060
00:56:59,320 --> 00:57:01,239
Speaker 1: your seats are up there, but I can see that

1061
00:57:01,239 --> 00:57:03,520
Speaker 1: there are people sitting in your seats, so you're gonna

1062
00:57:03,520 --> 00:57:06,200
Speaker 1: have to ask them to move. And I'm like, oh, man,

1063
00:57:06,360 --> 00:57:09,040
Speaker 1: isn't that your job, sir? That's what I should have said.

1064
00:57:09,040 --> 00:57:12,000
Speaker 1: But this kid was like fifteen and I'm grown.

1065
00:57:11,760 --> 00:57:14,760
Speaker 2: Man, so make a man out of him? Man, Like, yes, exactly,

1066
00:57:14,760 --> 00:57:15,880
Speaker 2: you're gonna have to confront.

1067
00:57:16,040 --> 00:57:20,240
Speaker 1: So basically, this older couple, one of them is seated

1068
00:57:20,560 --> 00:57:23,960
Speaker 1: in our seats. They both needed to move one seat

1069
00:57:24,000 --> 00:57:26,280
Speaker 1: to their right. There's a free seat on both sides,

1070
00:57:26,520 --> 00:57:29,040
Speaker 1: but Tricia and my seats are together, so we have

1071
00:57:29,120 --> 00:57:32,760
Speaker 1: to scooch them over. The movie has started. This is

1072
00:57:32,800 --> 00:57:35,800
Speaker 1: like a ten am screening. There's a lot of older

1073
00:57:35,840 --> 00:57:39,320
Speaker 1: people in the theater. So I go up and I'm like, hi, sir,

1074
00:57:39,400 --> 00:57:41,800
Speaker 1: you're seated in our seat and he goes what, And

1075
00:57:41,840 --> 00:57:47,720
Speaker 1: I go, you're in our seats. I paid for these seats. No,

1076
00:57:49,840 --> 00:57:52,320
Speaker 1: this seat is mine and those two do you guys

1077
00:57:52,360 --> 00:57:54,480
Speaker 1: just have to move over? And then his wife goes,

1078
00:57:54,520 --> 00:57:58,280
Speaker 1: what's going on? Oh god? And I go, you're in

1079
00:57:58,360 --> 00:58:01,800
Speaker 1: our seats and she goes, we paid for these seats.

1080
00:58:01,800 --> 00:58:04,800
Speaker 1: I go, I know you did. You Just move over

1081
00:58:04,960 --> 00:58:07,280
Speaker 1: one seat. And then the people behind us, because we're

1082
00:58:07,320 --> 00:58:09,240
Speaker 1: standing up while the movie is going on. The people

1083
00:58:09,240 --> 00:58:12,880
Speaker 1: behind us goes, why are these people standing in the film,

1084
00:58:13,000 --> 00:58:15,920
Speaker 1: And I'm like, oh my god, it's a disaster. I'm

1085
00:58:16,000 --> 00:58:19,720
Speaker 1: finally like, move over one seat. This is my seat.

1086
00:58:20,000 --> 00:58:22,600
Speaker 1: That seat next to you is yours. Just both of

1087
00:58:22,640 --> 00:58:25,240
Speaker 1: you shoot over and they're like oh, and I sit

1088
00:58:25,360 --> 00:58:28,520
Speaker 1: down next to this guy and I'm like I thought

1089
00:58:28,560 --> 00:58:31,680
Speaker 1: he was like embarrassed because he had messed up, because

1090
00:58:31,680 --> 00:58:34,840
Speaker 1: he should have been humiliated and embarrassed by his ridiculous behavior. Yeah,

1091
00:58:34,880 --> 00:58:38,720
Speaker 1: I go sorry for that, and he just goes he

1092
00:58:38,920 --> 00:58:42,880
Speaker 1: grunts at me like it was my fault. Yeah. So anyways, Wow,

1093
00:58:42,880 --> 00:58:47,200
Speaker 1: that's a film grape of mind that people don't always

1094
00:58:47,680 --> 00:58:53,080
Speaker 1: follow the seat assignment that they bought for the seated seats,

1095
00:58:53,560 --> 00:58:54,440
Speaker 1: you know, in the theater.

1096
00:58:54,600 --> 00:58:58,360
Speaker 2: That is so bowld of somebody to be like, why

1097
00:58:58,360 --> 00:59:00,880
Speaker 2: can't you just move? I don't know, is that wrong

1098
00:59:00,920 --> 00:59:02,560
Speaker 2: with me? Like that's crazy.

1099
00:59:04,080 --> 00:59:06,840
Speaker 1: My dear aunt Nancy recently had a problem with this

1100
00:59:06,880 --> 00:59:08,880
Speaker 1: as well. Now this isn't my story, but I'm telling

1101
00:59:09,360 --> 00:59:12,400
Speaker 1: her story. She went in, there was a guy in

1102
00:59:12,440 --> 00:59:16,160
Speaker 1: her seat. She lives in Fargo, Moorhead actually, and she

1103
00:59:16,720 --> 00:59:18,480
Speaker 1: went to the theater and the guy she's like, you're

1104
00:59:18,480 --> 00:59:19,920
Speaker 1: in our seats and he's like, no one's here, go

1105
00:59:19,920 --> 00:59:20,720
Speaker 1: find another seat.

1106
00:59:21,040 --> 00:59:21,800
Speaker 2: Oh my god.

1107
00:59:21,920 --> 00:59:26,080
Speaker 1: And so she's like, okay. She sits down. Other people

1108
00:59:26,120 --> 00:59:27,360
Speaker 1: come in and they go to her and they're like,

1109
00:59:27,360 --> 00:59:29,640
Speaker 1: you're in our seat. And she's like okay. She moves again.

1110
00:59:30,040 --> 00:59:32,120
Speaker 1: Other people come in, Hey, you're in our seat, lady.

1111
00:59:32,360 --> 00:59:34,960
Speaker 1: She gets up and walks back to her seat, and

1112
00:59:34,960 --> 00:59:37,640
Speaker 1: the old guy goes, looks like, you're not having any

1113
00:59:37,720 --> 00:59:40,040
Speaker 1: luck today. She goes, get out of my seat.

1114
00:59:40,480 --> 00:59:42,919
Speaker 2: I would have kicked him in the nuts. What the fuck?

1115
00:59:43,080 --> 00:59:45,680
Speaker 1: Yeah, that is so bold. There's a war going on

1116
00:59:45,760 --> 00:59:49,919
Speaker 1: out there, Millie. Anyways, that's my film, Gripe.

1117
00:59:49,800 --> 00:59:52,480
Speaker 2: Gripe, accept it, that is. I mean, I think you

1118
00:59:52,520 --> 00:59:55,240
Speaker 2: and I see very much eye to eye on the

1119
00:59:55,240 --> 00:59:57,640
Speaker 2: assigned seat thing, which makes sense because I think I

1120
00:59:57,640 --> 01:00:00,439
Speaker 2: feel like you and I are both very like. We're

1121
01:00:00,480 --> 01:00:02,920
Speaker 2: both kind of methodical. We like a little organization. We

1122
01:00:03,040 --> 01:00:05,920
Speaker 2: like a little bit of rules, like like some light rules, you.

1123
01:00:05,880 --> 01:00:09,640
Speaker 1: Know, we like we like laws and order. I don't

1124
01:00:09,680 --> 01:00:14,000
Speaker 1: think that's like an insane thing. We don't like all

1125
01:00:14,000 --> 01:00:17,760
Speaker 1: these like independently minded people going ham you know in

1126
01:00:17,840 --> 01:00:18,520
Speaker 1: our theaters.

1127
01:00:18,680 --> 01:00:22,000
Speaker 2: I know you mean, well, it's really more. I don't

1128
01:00:22,000 --> 01:00:24,200
Speaker 2: even want to call it a law because I'm punk rock.

1129
01:00:24,240 --> 01:00:26,560
Speaker 2: I don't really like all laws me too, I'm punk

1130
01:00:26,640 --> 01:00:30,200
Speaker 2: rock two. I like a little bit of infrastructure and

1131
01:00:30,240 --> 01:00:34,920
Speaker 2: what I think it's just an organizational tool, infrastructure to

1132
01:00:35,240 --> 01:00:37,720
Speaker 2: just create a little bit of order when it comes

1133
01:00:37,720 --> 01:00:41,200
Speaker 2: to like public things and you know, strangers, because if

1134
01:00:41,200 --> 01:00:43,560
Speaker 2: you're out here with no fucking rules and movie theaters again,

1135
01:00:43,880 --> 01:00:45,880
Speaker 2: like this is what will happen is that people are

1136
01:00:45,920 --> 01:00:48,360
Speaker 2: just gonna be like, well, I'm gonna save five seats

1137
01:00:48,400 --> 01:00:50,440
Speaker 2: because I'll want to lay down and put all my

1138
01:00:50,560 --> 01:00:53,520
Speaker 2: snacks on they all my snacks, get one seat, yes,

1139
01:00:53,640 --> 01:00:55,160
Speaker 2: and you're gonna have to sit in the front row,

1140
01:00:55,440 --> 01:00:58,320
Speaker 2: you know. So I like the assigned seat thing, but honestly, like,

1141
01:00:58,760 --> 01:01:01,760
Speaker 2: people are going outside of that and I don't appreciate it.

1142
01:01:02,120 --> 01:01:02,760
Speaker 2: That's wild.

1143
01:01:02,960 --> 01:01:05,479
Speaker 1: I don't like it at a baseball game either, because

1144
01:01:05,480 --> 01:01:07,760
Speaker 1: that's happened before where I've gotten to my seats at

1145
01:01:07,800 --> 01:01:09,440
Speaker 1: a baseball game and people are in my seats and

1146
01:01:09,480 --> 01:01:11,240
Speaker 1: I'm like, oh, these are our seats, and they're kind

1147
01:01:11,240 --> 01:01:12,760
Speaker 1: of like, can't you go somewhere else? It's like no,

1148
01:01:12,840 --> 01:01:14,680
Speaker 1: but those are our seats. Get out of them.

1149
01:01:14,760 --> 01:01:17,880
Speaker 2: It's like this place created the rule of the assigned seats,

1150
01:01:17,880 --> 01:01:19,880
Speaker 2: so you have to abide by them too, Like come.

1151
01:01:19,760 --> 01:01:21,280
Speaker 1: On, yes, Like jerks.

1152
01:01:21,360 --> 01:01:21,640
Speaker 2: Wow.

1153
01:01:21,880 --> 01:01:24,800
Speaker 1: Anyways, I like that you accepted my gripe. Maybe that

1154
01:01:24,800 --> 01:01:27,240
Speaker 1: can be a part of this segment where Gripe accepted

1155
01:01:27,680 --> 01:01:29,160
Speaker 1: Gripe accepted.

1156
01:01:28,720 --> 01:01:32,120
Speaker 2: Dingy All right, Casey, well, listen, I had a blast

1157
01:01:32,640 --> 01:01:36,200
Speaker 2: talking with you today about the terminator and the terminators

1158
01:01:36,800 --> 01:01:39,479
Speaker 2: and kicking old men and the balls in the movie theater.

1159
01:01:39,800 --> 01:01:42,320
Speaker 2: All right, so let's move on to a section that

1160
01:01:42,360 --> 01:01:46,120
Speaker 2: we lovingly call employee picks, and this is where we

1161
01:01:46,200 --> 01:01:49,840
Speaker 2: recommend a film based on what we've talked about today.

1162
01:01:50,000 --> 01:01:51,800
Speaker 2: So what do you have, Casey.

1163
01:01:52,160 --> 01:01:56,560
Speaker 1: This is not necessarily an apocalyptic movie, but it's kind

1164
01:01:56,560 --> 01:02:03,920
Speaker 1: of a fun LA movie that is very low budget

1165
01:02:04,600 --> 01:02:10,280
Speaker 1: and it is about a ghost and a haunting and

1166
01:02:10,480 --> 01:02:14,200
Speaker 1: it kind of I like Los Angeles because there's sort

1167
01:02:14,200 --> 01:02:16,280
Speaker 1: of like and I like movies set in Los Angeles.

1168
01:02:16,320 --> 01:02:19,000
Speaker 1: I like slacker type movies set in Los Angeles because

1169
01:02:19,040 --> 01:02:21,680
Speaker 1: it's like a fun place to just sort of bum

1170
01:02:21,720 --> 01:02:24,800
Speaker 1: around and walk around, and there's a lot of slackers there.

1171
01:02:24,800 --> 01:02:28,520
Speaker 1: It's a very easy place to live weatherwise, you don't

1172
01:02:28,560 --> 01:02:32,720
Speaker 1: need much. The movie I'm recommending is called The Civil Dead.

1173
01:02:32,960 --> 01:02:35,200
Speaker 1: It came out in twenty twenty two. It's co written

1174
01:02:35,320 --> 01:02:40,480
Speaker 1: and directed by Clay Tatum. The comedian Whittmer Thomas is

1175
01:02:40,600 --> 01:02:46,320
Speaker 1: in it, and Wittmer Thomas plays a ghost that only

1176
01:02:46,800 --> 01:02:53,120
Speaker 1: Clay Tatum can see and it becomes really annoying. It's

1177
01:02:53,120 --> 01:02:55,680
Speaker 1: all kind of set in the Silver Lake, Los Fela's

1178
01:02:55,840 --> 01:02:59,600
Speaker 1: area and it's a good kind of slacker buddy comedy

1179
01:02:59,680 --> 01:03:02,320
Speaker 1: with heart, but it also kind of has some scary

1180
01:03:02,400 --> 01:03:04,720
Speaker 1: elements too. And they made it for like I want

1181
01:03:04,720 --> 01:03:08,760
Speaker 1: to say, like fifteen twenty thousand dollars. It's really great. Yeah,

1182
01:03:08,800 --> 01:03:12,480
Speaker 1: you can stream it in the usual places on you know,

1183
01:03:12,760 --> 01:03:17,320
Speaker 1: Prime rented, on Apple TV. It's on Hoopla if anyone

1184
01:03:17,400 --> 01:03:22,480
Speaker 1: has access to that app. That's another library card app, Hoopla.

1185
01:03:22,520 --> 01:03:25,800
Speaker 1: But yeah, it's a really fun movie that I really enjoyed.

1186
01:03:25,840 --> 01:03:30,320
Speaker 1: And I always enjoy, you know, super low budget films,

1187
01:03:30,560 --> 01:03:34,040
Speaker 1: and this this movie, when I watched it did make

1188
01:03:34,080 --> 01:03:37,040
Speaker 1: me miss Los Angeles. You get to see all the

1189
01:03:37,080 --> 01:03:40,320
Speaker 1: apartments of Los Felis and stuff, and it's it's a

1190
01:03:40,320 --> 01:03:42,120
Speaker 1: fun movie. I really enjoyed it.

1191
01:03:42,360 --> 01:03:45,920
Speaker 2: Okay, well that's a great recommendation. I'm gonna have to

1192
01:03:46,000 --> 01:03:49,040
Speaker 2: check that out. Plus it's very topical to our theme,

1193
01:03:49,080 --> 01:03:52,000
Speaker 2: that is, you know, I was thinking about what's an

1194
01:03:52,160 --> 01:03:54,080
Speaker 2: LA movie, Like I was like, oh, I should go

1195
01:03:54,160 --> 01:03:58,440
Speaker 2: like really obscure, you know, something like that. But I

1196
01:03:58,480 --> 01:04:00,960
Speaker 2: don't think I want to don't do I think I

1197
01:04:01,080 --> 01:04:06,840
Speaker 2: want to go real broad, which is that I am

1198
01:04:06,840 --> 01:04:11,280
Speaker 2: going to recommend a movie called Swingers I love Swingers.

1199
01:04:11,320 --> 01:04:13,520
Speaker 1: That's a great LA movie.

1200
01:04:13,400 --> 01:04:17,880
Speaker 2: A great LA movie, and also was another film that

1201
01:04:18,120 --> 01:04:20,040
Speaker 2: educated me about what it would be like to be

1202
01:04:20,160 --> 01:04:22,520
Speaker 2: living in LA before I moved to La.

1203
01:04:22,720 --> 01:04:26,200
Speaker 1: I actually think that's a good representation and somewhat accurate

1204
01:04:26,240 --> 01:04:30,200
Speaker 1: representation of just like living out in La, bumming around

1205
01:04:30,240 --> 01:04:33,440
Speaker 1: in your friend's apartments, kind of just hanging out at

1206
01:04:33,440 --> 01:04:36,959
Speaker 1: the usual places, driving around the city. I think that's

1207
01:04:37,040 --> 01:04:38,880
Speaker 1: I love that movie. I need to rewatch it.

1208
01:04:38,960 --> 01:04:42,720
Speaker 2: I do too. I like how the Jon Favreau apartment

1209
01:04:43,040 --> 01:04:45,800
Speaker 2: has those like weird built in bookshelves that are like

1210
01:04:46,160 --> 01:04:48,959
Speaker 2: usually like in between the kitchen and like the rest

1211
01:04:48,960 --> 01:04:51,240
Speaker 2: of the living space. That was like something that I

1212
01:04:51,320 --> 01:04:54,160
Speaker 2: found in like every old LA apartment, and I was like, oh,

1213
01:04:54,200 --> 01:04:57,880
Speaker 2: I'm so fond of those built in little bookshelves. But

1214
01:04:57,920 --> 01:05:00,520
Speaker 2: the one thing about that movie that I and actually

1215
01:05:00,960 --> 01:05:02,760
Speaker 2: you know part of there's a section in the movie

1216
01:05:02,760 --> 01:05:04,840
Speaker 2: where basically like they're going up to the hills to

1217
01:05:04,880 --> 01:05:07,720
Speaker 2: go to like a party, right, yes, And there's five

1218
01:05:07,760 --> 01:05:09,840
Speaker 2: guys in their little group of friends and they all

1219
01:05:09,920 --> 01:05:13,080
Speaker 2: the joke is that they all drive separately to go

1220
01:05:13,120 --> 01:05:15,400
Speaker 2: to this one party, right, And then they all like

1221
01:05:15,520 --> 01:05:17,280
Speaker 2: drive really close to each other, and then they all

1222
01:05:17,320 --> 01:05:19,320
Speaker 2: park their cars next to each other, and then they

1223
01:05:19,320 --> 01:05:20,240
Speaker 2: all put the club on.

1224
01:05:20,440 --> 01:05:20,640
Speaker 1: Yes.

1225
01:05:20,720 --> 01:05:23,400
Speaker 2: And part of the ridiculousness I think of that is that, like,

1226
01:05:23,480 --> 01:05:26,160
Speaker 2: why would like the five people who are going into

1227
01:05:26,200 --> 01:05:29,160
Speaker 2: the same place not carpool And it just kind of,

1228
01:05:29,280 --> 01:05:31,480
Speaker 2: I think as a joke about La car culture and

1229
01:05:31,520 --> 01:05:33,440
Speaker 2: sort of that kind of thing. Sure, and at the

1230
01:05:33,480 --> 01:05:35,360
Speaker 2: time I was like, that is so funny and weird,

1231
01:05:35,400 --> 01:05:39,120
Speaker 2: but now as I've gotten older, I kind of am like, no,

1232
01:05:39,320 --> 01:05:42,800
Speaker 2: that's actually how I want to do things too. When

1233
01:05:42,800 --> 01:05:45,600
Speaker 2: I go to a party and I know that I'm

1234
01:05:45,600 --> 01:05:49,040
Speaker 2: going with friends, we should all drive separately. And the

1235
01:05:49,120 --> 01:05:51,920
Speaker 2: reason why is because I want to leave when I

1236
01:05:51,960 --> 01:05:54,800
Speaker 2: want to leave, but I don't want to go alone

1237
01:05:55,040 --> 01:05:57,280
Speaker 2: to the party. I still want to go with my

1238
01:05:57,320 --> 01:05:59,880
Speaker 2: friends totally, but I think we should all drive separately.

1239
01:06:00,040 --> 01:06:02,200
Speaker 1: You don't want to be beholden to their schedule. They're

1240
01:06:02,280 --> 01:06:03,160
Speaker 1: leaving schedule.

1241
01:06:03,280 --> 01:06:06,440
Speaker 2: Of course, there's that huge issue, which is that I

1242
01:06:06,600 --> 01:06:09,480
Speaker 2: like want what I want to leave, I'm leaving, and

1243
01:06:09,960 --> 01:06:12,440
Speaker 2: it's gotten to the point now where I want to

1244
01:06:12,520 --> 01:06:15,600
Speaker 2: drive myself for the most part. If I don't get

1245
01:06:15,720 --> 01:06:18,800
Speaker 2: trashed or something. I want to drive myself, because actually

1246
01:06:18,840 --> 01:06:21,280
Speaker 2: waiting on an uber to leave a party is one

1247
01:06:21,280 --> 01:06:23,640
Speaker 2: of the most awkward things in the entire universe.

1248
01:06:23,840 --> 01:06:26,040
Speaker 1: Yeah, you're kind of hanging out near the doorway. You've

1249
01:06:26,040 --> 01:06:29,120
Speaker 1: removed yourself from the party. You're not present there as

1250
01:06:29,120 --> 01:06:31,160
Speaker 1: a human being. You're just sort of like in this

1251
01:06:31,240 --> 01:06:33,880
Speaker 1: transition dimension, yes, waiting for the uber.

1252
01:06:34,000 --> 01:06:36,000
Speaker 2: And then if like god forbid, like if you're alone

1253
01:06:36,040 --> 01:06:38,400
Speaker 2: or somebody was standing there and you're like sitting here

1254
01:06:38,400 --> 01:06:40,439
Speaker 2: looking at your phone and the only conversation you're having

1255
01:06:40,680 --> 01:06:42,880
Speaker 2: is like, where's this guy? It says, this is twelve

1256
01:06:42,920 --> 01:06:43,439
Speaker 2: minutes away.

1257
01:06:43,520 --> 01:06:43,920
Speaker 1: I don't know.

1258
01:06:43,920 --> 01:06:46,440
Speaker 2: He's going in the wrong direction. It's like that weird

1259
01:06:46,560 --> 01:06:48,520
Speaker 2: dance of like a waiting on an uber.

1260
01:06:48,920 --> 01:06:51,440
Speaker 1: He must be at a stop light or something. Yeah.

1261
01:06:51,520 --> 01:06:54,240
Speaker 2: Yeah, And then you're just talking to strangers about your

1262
01:06:54,280 --> 01:06:54,960
Speaker 2: fucking uber.

1263
01:06:55,320 --> 01:06:58,040
Speaker 1: Yeah sucks, And I'm like, why am I doing that?

1264
01:06:58,320 --> 01:07:01,400
Speaker 2: Because it's awkward. We both left the same party, but

1265
01:07:01,480 --> 01:07:04,920
Speaker 2: now we transition out of party mode into being weird

1266
01:07:04,920 --> 01:07:05,800
Speaker 2: about uber mode.

1267
01:07:05,800 --> 01:07:06,160
Speaker 1: I don't know.

1268
01:07:06,240 --> 01:07:09,760
Speaker 2: I fucking hate it. So bottom line, Swingers is my

1269
01:07:09,800 --> 01:07:12,840
Speaker 2: film recommendation. It's on like every platform. You can watch

1270
01:07:12,840 --> 01:07:15,720
Speaker 2: it on Pluto, for free. You probably have already seen

1271
01:07:15,760 --> 01:07:17,400
Speaker 2: it already, but I'm recommending it anyway.

1272
01:07:17,640 --> 01:07:21,400
Speaker 1: So great soundtrack too. We owned that soundtrack on CD

1273
01:07:21,800 --> 01:07:24,720
Speaker 1: in the nineties and it was on repeat in our

1274
01:07:24,760 --> 01:07:25,680
Speaker 1: house growing up.

1275
01:07:25,720 --> 01:07:29,120
Speaker 2: Would you see Big Bad Voodoo Daddy in twenty twenty five?

1276
01:07:29,440 --> 01:07:35,000
Speaker 1: Are they still a band? Sure? Why not? Did you

1277
01:07:35,000 --> 01:07:36,680
Speaker 1: ever go to the Dresden when you're in LA where

1278
01:07:36,720 --> 01:07:38,320
Speaker 1: they go too frequently? Hell?

1279
01:07:38,440 --> 01:07:40,000
Speaker 2: Yeah, boy, of course I did love.

1280
01:07:39,840 --> 01:07:41,720
Speaker 1: That place, love that place.

1281
01:07:42,200 --> 01:07:44,840
Speaker 2: Well. Well, well that is the end of another episode

1282
01:07:44,880 --> 01:07:47,720
Speaker 2: of Dear Movies. I Love you So speaking of the future,

1283
01:07:48,160 --> 01:07:49,760
Speaker 2: if you want to, you know, get a couple of

1284
01:07:49,800 --> 01:07:53,520
Speaker 2: answers to some of your burning film questions, like if

1285
01:07:53,560 --> 01:07:57,120
Speaker 2: you need a recommendation from us, if you have a

1286
01:07:57,200 --> 01:08:00,520
Speaker 2: question about a director's somography and you want to know more,

1287
01:08:00,760 --> 01:08:02,800
Speaker 2: or if you just have a film gripe and you

1288
01:08:02,920 --> 01:08:06,320
Speaker 2: need two film gripe judges in your corner, you can

1289
01:08:06,400 --> 01:08:10,320
Speaker 2: write us or email address is dear Movies at exactly

1290
01:08:10,400 --> 01:08:11,760
Speaker 2: rightmedia dot com.

1291
01:08:11,800 --> 01:08:14,760
Speaker 1: And you can also ask for advice via voicemail, which

1292
01:08:14,800 --> 01:08:16,559
Speaker 1: would be just fabulous if you could hear your voices

1293
01:08:16,560 --> 01:08:19,400
Speaker 1: on the show. Just record a voicemail on your phone

1294
01:08:19,760 --> 01:08:22,599
Speaker 1: in a quiet place. Please keep it under a minute, please,

1295
01:08:22,760 --> 01:08:25,479
Speaker 1: and you just email it to us at Dearmovies at

1296
01:08:25,520 --> 01:08:26,840
Speaker 1: exactlyrightmedia dot com.

1297
01:08:26,840 --> 01:08:29,200
Speaker 2: That's right, and you can follow us on our social

1298
01:08:29,240 --> 01:08:32,599
Speaker 2: media accounts. We are at Deer Movies, I Love You

1299
01:08:32,680 --> 01:08:34,640
Speaker 2: on Instagram and Facebook.

1300
01:08:34,840 --> 01:08:41,400
Speaker 1: Our letterbox handles are at caseyleo'brian and at md'cherico. Check

1301
01:08:41,439 --> 01:08:41,800
Speaker 1: us out.

1302
01:08:42,040 --> 01:08:45,280
Speaker 2: That's right, well, Casey. As always, I had a really

1303
01:08:45,280 --> 01:08:48,240
Speaker 2: good time doing this podcast with you, and I can't

1304
01:08:48,240 --> 01:08:49,360
Speaker 2: wait to do it next week.

1305
01:08:49,600 --> 01:08:52,439
Speaker 1: Me too. I hope we are not visited by a

1306
01:08:52,479 --> 01:08:59,200
Speaker 1: futuristic robot sex god and uh well yeah, I don't know.

1307
01:08:59,320 --> 01:09:01,200
Speaker 1: I hope that doesn't happened to us in between this

1308
01:09:01,280 --> 01:09:03,200
Speaker 1: recording and the next, because I want to keep doing

1309
01:09:03,200 --> 01:09:06,599
Speaker 1: the show and I don't want you killed by a robot.

1310
01:09:06,680 --> 01:09:10,400
Speaker 1: Thank you anyways, that's us, Bye, everybody, goodbye.

1311
01:09:12,760 --> 01:09:15,920
Speaker 2: This has been an exactly Right production hosted by me

1312
01:09:16,360 --> 01:09:20,000
Speaker 2: Milli to Cherico and produced by my co host, Casey O'Brien.

1313
01:09:20,200 --> 01:09:24,000
Speaker 1: This episode was mixed by Tom Bryfogel. Our associate producer

1314
01:09:24,040 --> 01:09:27,400
Speaker 1: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1315
01:09:27,439 --> 01:09:29,240
Speaker 1: our artwork is by Vanessa Lilac.

1316
01:09:29,479 --> 01:09:32,400
Speaker 2: Our incredible theme music is by the best band in

1317
01:09:32,439 --> 01:09:34,320
Speaker 2: the entire world, The Softies.

1318
01:09:34,560 --> 01:09:38,479
Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia hard Stark,

1319
01:09:38,640 --> 01:09:43,040
Speaker 1: Daniel Kramer and Millie to Chercho, we love you. Goodbye

1320
01:09:43,760 --> 01:09:44,840
Speaker 1: Beker